JimM' 


s 

%^ 

rO"'^ 

4 

^         %, 

■ 


^^^ 

r 

^>pgglj 

} 

.^ 

■      (& 

WmS^ 

lUiifM 


^^^^ 


OF  THE 


I7BESIT71 


Let  mw  sorrow 
pie^d  Tor  me 


^^(^  OF  Tn-       ^3^ 

[TJHIVEI.JIT7] 


An  Hour  with  Dhlsarth 

a  ^tut)^  of  €jcpre00ion 

BY 

ANNA     MORGAN 


Grace  is  the  appropriate  relation  of  the  persons  acting  to  the  action 

Lodge'.s  VVinckei.mann 


KlUus^trateD  b^ 

ROSE   MUELLER   SPRAGUE    and    MARIAN    REYNOLDS 
'^•^   OF  THE     ^ 


[UiriVBESIT 


LEE     AND     SHEPARD     Publishers 

lo  Milk   St.   next  "The  Old   South    Meeting    House" 

NEW   YORK    CHARLES   T.   DILLINGHAM 

71S  ANn  720  Broadway 


4^4-71 


Copyright,  1889, 
By  Lee  and  Shepard 


SSnibetBits  IPrraa 
John  Wilson  and  Son,  Cambridge 


TO 

MY     PUPILS 

WHO     HAVE     KINDLY     I'OSEU     FOR     THE     ILLUSTRATIONS    OF 
THESE     PAGES 

AND    WHOSE    ENTHUSIASM    AND    DEVOTION    HAVE    SUSTAINED 
AND    ENCOURAGED    ME    IN    MY    WORK 

^h\s  \S>otih 

IS    AFFECTIONATELY     DEDICATED. 


Chicago,   Tan.   i,   i88t). 


CONTENTS. 


Pack 

I.     Introductory 7 

-   II.     Importance  of  Correct  Bearing 1 1 

'"-III.     Plea  for  Flexibility  .          ^5 

IV.     Francois  Delsarte ^9 

V.     Philosophy  of  Delsarte's  System 25 

VI.     Practical  Lesson  on  Expression 3° 

VII.     Vital  Division 3^ 

y  VIII.     Mental  Division 45 

IX.     Emotive  Division 49 

X.     Delsarte's  Nine  Laws  of  Gesture 5- 

XI.     Gesture 5^ 

XII.     The  Voice.  —  Reading 64 

XIII.  Teachers.— Exercises  for  Practice 70 

XIV.  Exercises  for  Harmonic  Poise 83 

XV.  The  Head,  Eye,  Nose,  Mouth,  and   Mechanical 

Movements 9^ 

XVI.     The  Stage.  — Conclusion 'o^ 


LIST    OF    ILLUSTRATIONS. 


Let  My  Sorrow  plead  for  me Frontispiece 

Fig.     I.    A  Deplorable  Fault \z 

2.  Depressed  or  Hollow  Chest 14 

3.  Shoulders  Elevated 16 

4.  Arrogance,  Defiance 18 

5.  Conceit,  Self-Esteem 20 

6.  Natural  Poise 22 

7.  "  Well,  sir,  what  would  you?  " 28 

8.  "Go!"' 34 

9.  "  I  wonder  what  is  love  ?  " 40 

10.  " 'T  is  n't  pleasant  to  have  no  place,"  etc 46 

11.  "  Look  there  !  ho,  ho,  ho  !  " 52 

12.  "  Now  you  stop  !" 58 

13.  "Alas,  too  late  !  " 64 

14.  "  I  wonder  if  he  loves  her  —  much.'"' 70 

15.  "  Alas,  poor  soul !  what  grief  is  thine  ! '" 72 

16.  '•  Oh.  my  Goodness  me  !  " 78 

17.  '-Now  is  the  time  !  " 84 

18.  "  Mine  woes  afflict  this  spirit  sore  " 90 

19.  "  Oh,  dear,  I  forgot  all  about  it !  " 96 

20.  "  It  can  do  no  harm,  poor  thing!" 102 

21.  •■ 'T  is  said  that  I  am  heartless  " loS 

22.  "  No  tears  can  drown  my  passion  of  remorse  "       .     .     .     .114 


AN    HOUR   WITH    DELSARTE 


I. 

INTRODUCTORY. 


"  T  T  is  every  one's  duty  to  look  as  well  as  possible  "  is  the 
feminine  plea  for  a  pretty  dress,  and  the  masculine 
excuse  for  an  overcoat  an  inch  shorter  than  the  one  worn 
the  previous  season ;  and  if  the  dress  be  but  ordered  from 
a  Parisian  modiste,  and  the  coat  from  a  London  tailor, 
they  are  worn  with  full  confidence  that  nothing  has  been 
left  undone  to  render  the  personal  appearance  all  that  could 
be  desired.  To  be  sure,  their  attention  is  frequently  called 
to  their  faulty  walk  and  imperfect  carriage ;  but  criticism 
is  at  once  disarmed  as  they  reply,  with  a  toss  of  the  head, 
"Oh,  I  know  it,  but  I  can't  help  it,  that's  been  in  our 
family  for  years ;  my  father  carried  himself  that  wa}-,  and 
it's  only  natural,  you  see,  that  I  should  do  the  same."  And 
the  listener  is  prone  to  add,  "It's  a  wonder  you  don't  eat 
with  your  knife,  just  because  your  grandfather  did." 


8  Aji  Hour  with  Delsarte 

What  man  or  woman  cannot  recall  from  earliest  childhood 
the  maternal  reminder,  "  Handsome  is  as  handsome  does," 
after  the  anxious  inquiry,  "How  do  I  look,  Mamma?"  In 
fact,  there  never  was  a  time  when  charm  of  manner  was  not 
considered  above  personal  adornment ;  but  with  the  advance- 
ment of  the  age  has  come  the  demand  for  something  more 
than  mere  unmeaning  grace. 

To  Francois  Delsarte,  more  than  to  any  other  man,  is  due 
the  credit  of  opening  our  eyes  to  the  possibility  of  adding 
strength  and  expression  to  our  movements,  as  Avell  as  grace 
and  ease.  His  opponents  have  unwittingly  done  much  to 
heighten  public  interest  in  his  teachings ;  their  scoffing  has 
only  served  to  whet  curiosity  and  bring  the  subject  of  the 
aesthetic  cultivation  of  the  body  into  equal  prominence  with 
kindred  arts.  Hitherto  the  subject  of  physical  culture  has 
suggested  only  the  gymnasium,  with  visions  of  Indian  clubs, 
dumb-bells,  and  various  other  violent  exercises  for  the  de- 
velopment of  muscle ;  but,  thanks  to  the  genius  of  Delsarte, 
we  are  in  possession  of  means  whereby  we  may  obtain  mus- 
cular strength,  but  not  at  the  expense  of  flexibility,  which  is 
the  basis  of  grace.  He  has  given  us  a  perfect  method  by 
which  we  ma}-  not  only  obtain  freedom  and  elasticity  of 
action,  but  one  which  adds  force  and  meaning  to  our  every 
movement.  It  frees  the  body  from  all  restrictions,  and  ren- 
ders it  as  it  should  be,  —  subservient  to  its  master,  the  will. 


hitrodiiciory  9 

It  should  be  the  training  of  every  child  from  its  cradle,  and 
then  there  would  be  no  bias  of  birth  or  custom  to  o\'ercomc 
in  later  years. 

The  purpose  of  this  little  book  is  to  popularize  this  study 
by  freeing  it  from  the  technical  phraseology  usually  em- 
ployed in  treating  the  subject,  and  while  endeavoring  to 
interest  the  trained  intellect,  to  present  it  in  a  manner 
comprehensible  to  the  average  mind.  A  suggestion  to  the 
intelligent  is  enough  to  convey  the  idea;  but  unless  the 
mind  possesses  the  attributes  of  taste  and  judgment,  a  living 
teacher  is  necessary  to  the  execution  of  the  plan. 

Except  in  rare  instances,  printed  directions  for  practice 
are  found  to  be  valueless,  because  of  their  constant  mis- 
interpretation. Equally  disastrous  are  the  consequences  of 
taking  pattern  or  modelling  after  an  incompetent  instructor; 
and  unless  the  pupil  is  able  t8  discriminate  between  the 
genuine  and  the  counterfeit  article,  he  is  almost  certain  to 
suffer  from  the  effects  of  incorrect  training.  The  best  test 
of  the  student's  permanent  and  practical  gain  is  the  readi- 
ness with  which  he  clothes  the  idea  in  his  own  language,  his 
ability  to  recognize  it  in  whatever  form  it  ma\'  be  presented, 
and  practicall)-  to  apply  it. 

This,  experience  has  shown,  is  the  onl}-  conclusive  evi- 
dence of  progress,  and  that  this  progress  may  be  the  more 
rapid,    the    memory    should    not    at    first    be    taxed    with    a 


lo  An  Hour  with  Delsarte 

burden  of  scientific  facts;  merely  the  fundamental  princi- 
ples at  the  base  of  the  art  should  be  learned  and  their 
application  understood.  The  pupil's  attention  should  be 
directed  to  the  study  of  himself  as  the  first  step  to  a 
knowledge  of  others,  and  an  assistance  to  him  in  observ- 
ing nature  and  studying  art.  In  this  way  he  learns  to 
analyze  the  movements  of  his  body  and  intelligently  to 
interpret  and  classify  them. 

If  in  the  succeeding  chapters  we  have  presented  the  ideas 
which  Delsarte  has  evolved,  in  words  which  all  may  under- 
stand, and  from  which  the  reader  may  form  a  practical 
acquaintance  with  the  subject,  the  object  of  our  work  will 
have  been  accomplished.  And  if  in  this  endeavor  it  should 
be  objected  by  some  that  we  have  been  over-explicit  at 
times,  we  can  only  say,  in  justification  of  our  course,  that 
we  would  rather  be  criticised  on  this  score  than  to  be 
misunderstood. 


Importance  of  Correct   Bearing  1 1 


II. 

IMPORTANCE   OF    COKRECI     BEARING. 

L_f  AS  it  ever  occurred  to  us  that  we  are  constantly  creat 
ing  impressions  by  our  unconscious  expressions,  and 
in  consequence  arc  possibly  being  judged  sickly,  weak, 
conceited,  vain,  or  vulgar?  People  form  their  estimates  of 
our  character,  not  necessarily  through  our  language,  for 
perhaps  they  have  never  heard  us  speak,  nor  through  the 
expression  of  our  faces  alone,  but  through  the  bearing  of 
our  entire  bodies. 

Which  of  us  has  not  accurately  detennincd  traits  of  char- 
acter in  persons  with  whom  we  have  never  exchanged  a 
word,  merely  from  the  poise  or  carriage  of  their  bodies? 
This  is  not  to  be  wondered  at  when  we  consider  that  the 
body  is  but  the  outward  symbol  and  development  of  the 
real  or  inner  self. 

Then,  it  ma}'  be  asked,  "  How  shall  we  hope  to  escape  the 
truths  of  character  if  Nature  thus  inevitabh'  stamps  our 
minds  upon  our  forms?  "  And  the  answer  is,  "  Bring  the 
outward  manifestation  of  the  impression  you  wish  to  create 
daily   ami    hourly    into    the    consciousness,   and    it   will   soon 

2 


12  An   Hojw  with  Delsar/e 

become  second  nature,  and  will  take  the  place  of  the  unat- 
tractive and  consequently  undesirable  appearance."  "  Must 
we  all  sit  alike?"  I  hear  a  bright  little  girl  ask  the  ques- 
tion. No,  not  unless  you  wish  to  imitate  a  row  of  lay 
figures ,  there  is  no  fixed  mode  by  which  we  must  all  either 
sit,  stand,  or  walk  alike. 

An  attitude  which  would  be  natural  and  becoming  to  one 
of  us  might  appear  constrained  and  awkward  in  another; 
but  there  are  certain  forms  of  action  common  to  us  all, 
which  we  take  as  the  standard  b}'  which  we  measure  faults 
and  excellences. 

Most  of  us  have  habits  acquired  or  inherited  which,  meas- 
ured by  this  standard,  are  not  correct.  A  judicious  teacher, 
instead  of  obliging  all  his  pupils  to  obey  a  fixed  rule  of 
expression,  will  consider  and  provide  for  their  individual 
requirements  just  as  the  competent  physician  prescribes  for 
the  various  ailments  of  his  respective  patients.  Quinine 
is  no  doubt  a  valuable  medicine ;  but  were  a  doctor  to  ad- 
minister it  to  all  of  his  patients  it  would  be  n-o  more 
absurd  than  the  manner  in  which  the  art  of  expression  has 
frequently  been  treated. 

An  easy  and  correct  bearing  is  the  first  essential,  —  the 
one  which  was  intended  for  you  by  Nature,  before  you  were 
deformed  by  habit  or  custom.  As  no  two  of  us  are  con- 
structed   exactly    alike    in    any    particular,    either    of    mind, 


Y\(..  I.  —  A    Dl'.l'I.oKAlU.K    Fai'i.t. 

Pat^^g  13. 


Impovlance  of  Correct  Bcarijic^  13 

tcmpcranicnt,    or   phj'siquc,    it    must    follow   that    our    faults 
antl  excellences  will   partake  of  this  dissimilarit)'. 

One  of  the  most  deplorable  faults  of  bearing;  is  [)roiiucetl 
by  giving  an  undue  prominence  to  the  abdomen,  <md  is 
emphasized  by  carrying  the  hands  directly  over  it  (sec 
Fig.  I  ).  Observation  need  not  be  confined  to  the  lowet 
classes  for  this  glaring  fault;  one  would  have  no  difficult)- 
in  finding  it  in  the  higher  grades  of  society,  where  it  is 
unpardonable. 

An  attitude  which  mars  the  appearance  and  damages  the 
health  is  where  the  chest  is  habituall)-  passive,  hnall\'  becom- 
ing hollow  (see  Fig.  2).  This  attitude,  while  often  induced 
by  a  delicate  constitution  and  weak  lungs,  is  no  doubt  fre- 
quentl\-  the  cause  of  debilitated  breathing;  it  suggests  ill- 
health,  timidit}',  and  helplessness.  Children  having  this 
habit  are  vagucl\-  directed  to  "  Straighten  up  ;  "  nine  times 
out  of  ten  the}'  mechanicall\-  raise  the  shoulders,  thereb\' 
shortening  the  neck  and  giving  a  deformed  appearance  to 
the  upper  part  of  the  bod}-  (see   Fig.  3). 

Two  forms  of  bearing  which  one  frequently  observes,  and 
which  are  certainly  not  attractive,  are  the  habitual  attitudes 
of  arrogance  and  self-conceit:  the  first  is  produced  b\- throw- 
ing the  weight  on  the  back  leg  and  carr\'ing  the  shoulders 
upward  and  backward  (sec  Fig.  4)  ;  the  second  b\-  a  con- 
spicuous presentation  of  the  chest,  which  asks  without  words. 


14  An  Hoiw  with  Delsarte 

"Do  you  know  who  I  am?"  (see  Fig.  5).  It  is  desirable 
that  we  should  cultivate  an  attractive  habit  of  bearing,  that 
the  impressions  we  create  may  be  agreeable  ones :  substi- 
tute the  correct  bearing  clearly  and  regularly  in  place  of  the 
false  one,  which  will  thus  disappear  "  ere  we  are  aware." 

It  is  an  art  to  assert  one's  self,  make  one's  presence  felt, 
without  seeming  officious ;  and  the  few  who  succeed  inevi- 
tably become  conspicuous  ornaments  of  society.  The  first  ^ 
step  tow^ard  obtaining  this  desirable  result  is  to  cultivate 
an  appearance  of  bodily  repose.  Do  not  confound  bodily 
repose  with  mental  sluggishness.  One  is  not  necessarily 
stupid  because  his  arms  and  head  are  not  flying  in  all 
directions. 

A  natural  poise  is  shown  when  one  stands  with  one  foot 
slightly  in  advance  of  the  other,  the  weight  resting  easily  on 
the  balls  of  the  feet  (see  Fig.  6).  When  activity  begins  the 
attitude  changes ;  as  you  speak  there  is  a  transition  of  the 
weight  of  the  body  to  the   advanced  foot. 

If  the  body  is  properly  poised,  the  arms  will  naturally  take 
care  of  themselves,  and  will  fall  easily  in  front  of  the  hips. 
There  is  no  mistake  a  teacher  could  be  guilty  of  which  would 
be  more  inexcusable  than  that  of  giving  directions  for  the 
use  of  the  hands  arid  arms  without  first  correcting  all  imper- 
fections of  carriage  or  bearing. 


>^ 


Fig.  2.  —  Depressed  ok  Hollow  Chf.st. 


K^*^  OF  M  :     ^^ 

[■0HIVEI.:iT7l 


Plea  for  Flexibility  1 5 


III. 

PLEA    FOR    FLEXIBILITY. 

"  T  T  0\\  beautifulK'  )'ou  perform  !  "  said  I  one  da)'  to  a 
pianist ;  and  she  replied,  "  Yes,  but  my  performing, 
beautiful  as  it  appears,  represents  man)'  years  of  patient 
practice  under  skilful  masters;  I  ha\'e  given  five  hours  a 
day  for  several  years  to  preliminar)- practice  alone."  If  this 
be  true  of  an  art,  the  exercise  of  which  requires  trained 
fingers  merely,  with  how  much  more  force  does  it  appl)- 
to  one  in  which   the  entire  body  is  concerned  I 

The  lack  of  training  in  art  is  most  apparent  when  there 
is  the  greatest  absence  of  flexibilit)',  which  is  the  basis 
of  freedom,  and  is  essential  to  grace  in  expression.  We 
have  seen  the  enormities  of  physical  bearing  which  vices  of 
habit  and  custom  have  entailed  upon  us.  and  the  necessit)- 
we  are  under  of  removing  them  before  wc  are  able  to  con- 
form  to   a  standard  of  natural  grace. 

In  other  words,  we  must  free  the  bod)'  from  the  stiffness 
of  individualit)-  by  xielding  it  up  to  the  claims  of  univer- 
sality. We  must  break  down  error  before  wc  can  build 
up  truth.      This   object   is   attained    in    phxsical    training   b)' 


l6  An   Hour  with  Dclsarie 

surrendering  the  bod}-  to  the  discipHne  of  an  .tsthetical 
L^ymnastie   drilhng. 

Uelsarte's  inventive  genius  has  furnished  us  a  series  of 
mechanical  exercises  which  subject  all  the  joints  and  muscles 
to  a  flexing  or  freeing  process,  which  is  the  first  step 
/  /  toward  restoring  them  to  the  pliancy  of  unconscious  free- 
dom. They  destroy  that  unbending  muscular  rigidity  largely 
imposed  by  conventionality,  and  infuse  an  air  of  elastic  in- 
dependence,—  so  fundamental  an  element  in  a  graceful  car- 
riage. They  correct  all  faults  of  negligent  personal  habit, 
and  overcome  hereditary  tendencies  which  sometimes,  if 
unchecked,  result  in  grave  consequences  to  health.  These 
/(  are  among  the  purposes  of  Uelsarte's  scheme  of  mechanical 
movements. 

As  every  part  of  the  body  is  concerned  in  expression, 
it  should  be  uniformly  cultivated  throughout.  The  custom, 
therefore,  among  vocalists  of  training  the  voice  to  the  neg- 
lect of  the  other  agents  of  expression  is  no  less  absurd  than 
were  the  preparations  of  the  immature  dramatic  student,  who 
took  a  course  of  reading  lessons,  a  pair  of  top-boots,  and  a 
sword,  and  went  upon  the  stage. 

Public  entertainers,  like  pianists  and  concert  singers,  whose 
professions  do  not  call  into  active  practice  more  than  one  set 
of  muscles,  are  very  apt  to  overlook  their  shortcomings  in 
the  matter  of  personal  bearing,  until  unpleasantly  reminded 


Fio.  3.  —  Shoulders  Elevated. 

Page   13. 


<^^   OF  THE         • 

:iihivek:it 


Pica  for  Flexibility  i  7 

of  their  reality  by  a  painful  sense  of  consciousness  when  the 
moment  for  appearin<4  arrives.  Thus  the  effect  of  many 
an  otherwise  artistic  effort  has  been  sadly  marred  and  some- 
times utterly  ruined  throui^h  lack  of  that  complacent  ease 
born  of  confidence   in  a  becomini;"  manner. 

A  general  cultivation  of  the  entire  body  should  form  the 
preliminary  training  or  groundwork  upon  which  to  buikl  up 
a  special  education  for  any  art,  and  the  resulting  flexibility 
and  control  of  all  the  muscles  is  of  the  greatest  assistance 
in  subjugating  the  set  of  muscles  expressly  exercised  in  a 
particular   pursuit. 

As  the  judicious  use  of  these  exercises  is  [)roductive  of 
immeasurable  good,  so  on  the  other  hand  is  their  improper 
practice  harmful  in  the  extreme.  Unskilful  exponents  of 
Delsarte,  mistaking  the  purpose  of  these  mechanical  move- 
ments, have  done  much  to  bring  his  labors  into  disrepute. 
Their  pupils  usually  make  ridiculous  exhibitions  of  them- 
selves by  the  agonizing  sinuosities  which  the\'  throw  into 
their  gestures,  and  the  air}-  nothingness  which  per\ades  all 
their  movements.  Good  taste  would  promptl}'  reject  such 
antics  as  a  silly  travesty  of  nature.  l-Jut  the  cause  of  Delsarte 
has  suffered  so  much  from  this  misapprehension,  that  the 
mention  of  his  name  recalls  to  many  people  onl\'  the  specta- 
cle of  a  group  of  expressionless  girls  languidly  waxing  theii 
arms  in  the  air. 


1 8  An  Hour  ivitJi  Delsa^'te 

A  young  lad)-,  applj-ini^  to  me  one  da}-  for  instruction, 
assured  me  that  her  father  was  "just  disgusted  with  those 
weak  Delsarte  movements ;  he  wants  me  to  take  up  some- 
thing with  some  strength  to  it."  Here  Delsarte  was  con- 
demned on  account  of  the  limited  vision  of  his  interpreter. 

The  end  of  art  is  to  conceal  art,  and  the  stud}-  of  Delsarte 
is  a  means  to  this  end.  It  seeks  to  provide  a  plan  of  self- 
cultivation  in  harmony  with  the  lines  of  natural  impulse ;  to 
assist,  not  to  impro\-e  upon,  nature  is  its  aim. 

The  eminent  actor  and  elocutionist,  Mr.  James  E.  Mur- 
doch, in  his  admirable  work,  "A  Plea  for  Spoken  Lan- 
guage," abl}-  bears   out   this   idea;    he   says:  — 

"  \Ve  would  have  true,  natural  expression  idealized  into  its  high- 
est possibilities  of  beauty,  grace,  and  power  ;  to  illustrate  :  All  the 
strong  passions  of  the  mind  communicate  themselves,  as  we  have 
seen,  so  suddenly  and  irresistibly  to  the  body  that  vehement  ges- 
ticulations and  impassioned  tones  are  the  result.  These  tones  and 
gesticulations  are,  no  doubt,  natural,  but  they  are  not  always  the 
most  perfect  or  graceful  expressions  of  nature.  .  .  .  Nature  may 
readily  run  into  deformity ;  and  it  must  be  the  purpose  of  art  and 
cultivation  to  conceal  or  remove  all  deformities,  for  art  is  called  in, 
not  to  pervert,   but  to  refine  and  exalt  nature. 

Nature,  it  is  true,  will  accomplish  much  without  art  in  all  human 
operations,  and  art  will  be  of  no  avail  without  nature  ;  but  it  is  only 
by  a  combination  of  the  two  that  we  can  produce  perfection  in 
anything  that  is  the   workmanship  of  man." 


Fig.  4.  —  Arrogaxcr,  Dkfiantf:. 

Page  13. 


\^      r\X!     TTT    • 


OF   TH 


[UHI7EL-:T71 


Francois  Delsarte  19 


IV. 

FRANCOIS    DELSARTE. 

1 

\T  TE  have  already  stated  that  Delsarte  has  done  more 
than  any  other  man  to  create  a  general  interest  in 
the  subject  of  the  aesthetic  cultivation  of  the  body  as  a  '^ 
means  of  expression ;  and  before  proceeding  farther  with  an 
account  of  his  discoveries  and  inventions,  we  desire  to  record 
a  few  of  the  many  interesting  episodes  with  which  the  life 
of  this  illustrious  artist  was  crowded.  He  was  born  No- 
vember II,  1 811,  at  Solesme,  France,  and  died  in  Paris 
July  20,  1 87 1.  Like  most  men  of  genius,  his  boyhood  years 
were  full  of  privation  and  suffering.  His  father,  who  was 
a  physician,  possessed  a  very  proud  and  imperious  nature, 
which  was  greatly  irritated  by  his  extreme  poverty ;  in  con- 
sequence of  which  he  treated  Delsarte's  mother,  who  was 
a  woman  of  rare  abilities,  with  such  injustice  and  cruelty 
that  she  was  finally  compelled  to  abandon  him  and  flee  with 
her  two  sons  to  Paris,  where  she  died  before  she  could  make 
her  talents  available.  Frangois's  little  brother  soon  followed 
his  mother,   dying  of   starvation    and    cold    in    his    brother's 

arms. 

3 


20  An  Hour  with  Delsarte 

Thus  we  find  Delsarte  in  1821,  a  little  boy  of  ten  years, 
in  the  utmost  destitution  and  entirely  alone  in  the  world. 
One  night  he  was  found  in  the  street  by  a  rag-picker,  who 
took  pity  on  him  and  carried  him  to  his  miserable  home. 
During  the  next  two  years,  while  in  this  man's  employ, 
he  dev^eloped  his  grand  passion  for  music,  and  invented 
a  system  of  musical  notation,  in  order  to  preserve  the 
airs  which  delighted  him  when  listening  to  the  bands  of 
music  and  itinerant  singers  which  he  encountered  in  the 
streets. 

At  thirteen  years  of  age  Delsarte  was  discovered  in  the 
garden  of  the  Tuileries  by  Bambini,  an  eminent  professor 
of  music,  who  found  him  writing  figures  in  the  sand.  When 
questioned  as  to  the  significance  of  the  marks,  he  replied 
that  he  was  writing  down  the  music  which  was  being  played 
in  the  garden.  Amazed,  Bambini  inquired  who  had  taught 
him  the  process;  he  replied,  "Nobody,  sir;  I  found  it  out 
myself." 

"  Thus  in  the  dust  of  Paris  were  first  written  the  elements 
of  a  system  destined  to  regenerate  art."  Bambini  took  the 
boy  home,  and  instructed  him  until  the  pupil  became  greater 
than  the  master.  At  fourteen  Delsarte's  talents  secured  him 
admission  to  the  Conservatory,  where,  by  observation  of  Na- 
ture and  a  careful  study  of  cause  and  effect,  he  soon  de- 
veloped a  style  of  his  own  which  was  radically  different  from 


Fig.  5.  —  CoNTEiT.  SI'I-f-Estefm. 

Pai^e  14. 


Francois  Delsarte  21 

those  of  his  teachers,  at  whose  hands  he  received  nothitifj  but 
discouragement. 

Delsarte  was  led  to  follow  the  promptings  of  his  own 
genius  through  the  praises  of  Malibran  and  Adolj^hc  Nourrit, 
who  predicted  that  he  would  be  a  great  artist.  His  indomi- 
table will  and  perseverance  at  last  secured  him  an  interview 
with  the  director  of  the  Opera  Comique,  who,  upon  seeing 
Delsarte's  ragged  clothes,  declined  even  to  give  him  the 
office  of  call-bo\',  the  only  position  then  vacant  to  which 
Delsarte  replied,  "  Monsieur,  if  my  clothes  are  poor,  my 
art  is  genuine ;  I  am  prepared  to  fill  the  position  of  premier 
snjet  among  your  singers."  The  manager  finally  consented 
to  hear  him  sing,  which  resulted  in  his  offering  Delsarte  an 
engagement  for  a  year  at  a  salary  of  ten  thousand  francs. 
The  failure  of  his  voice  compelled  him  to  retire  from  the 
lyric  stage  in  1834,  four  years  from  the  time  of  having 
made  his  first  appearance  before  an  audience,  which  was 
electrified 

Delsarte  possessed  great  courtliness  of  manner,  in  which 
there  was  nothing  of  self-assertion  ;  his  form  was  massive, 
and  his  e\-c  brilliant ;  and  when  he  sang,  his  exquisite  voice, 
•'  aided  in  effect  b)'  those  imperial  gestures  of  which  he 
had  already  discovered  the  secret,"  found  its  wa\'  to  every 
heart. 

Upon  his  retirement  from  the   stage    Delsarte  decided   to 


22  A  71  Hour  with  Dclsarte 

devote  himself  to  perfecting  a  system  which  should  give  a 
solid  foundation  to  the  art  of  expression,  and  one  which 
should  recognize  the  limitations,  no  less  than  the  possibili- 
ties, of  the  individual.  He  obtained  a  perfect  knowledge 
of  the  uses  and  capabilities  of  the  muscles  through  a  con- 
scientious study  of  anatomy  and  physiology,  and  he  spared 
no  pains  or  labor  to  perfect  the  system  which  was  his  special 
life  work,  and  on  which  his  fame  rests. 

Delsarte's  natural  modesty  kept  him  withdrawn  from  the 
glare  of  publicity,  and  during  life  he  was  little  known  outside 
of  his  immediate  circle,  in  which  were  included  men  and 
women  of  rank  and  fortune,  and  members  of  the  reigning 
families  of  Europe,  who  sought  his  instruction  as  a  means 
of  rendering  them  personally  more  attractive  for  the  position 
which  they  occupied  in  social  life.  The  names  of  Rachel, 
Sontag,  Macready,  Madeleine  Brohan,  and  Pasca  are  among 
Delsarte's  professional  pupils ;  while  equally  distinguished 
names,  including  that  of  Pere  Hyacinthe,  are  among  the 
number  to  whom  he  gave  instruction  in  pulpit  oratory. 

Born  in  poverty,  early  deprived  of  home  influences  and 
maternal  love,  Delsarte's  genius  carried  him,  after  nine  years 
of  unremitting  labor,  to  a  brief  career  before  an  admiring 
public,  to  which,  after  his  retirement,  owing  to  a  firm  relig- 
ious conviction,  he  would  never  return.  He  died  at  the  age 
of  sixty  years,  comparatively  unknown,  even  in  his  own  city. 


Fig.  6  —  Natural  Poisf. 

Page  14. 


[TjirivEi  :t71 


'M 


Francois  Debar ie  23 

Delsarte's  friends  have  patiently  borne  the  ridicule  which 
has  been  heaped  upon  him,  knowing  and  believing  that  his 
greatness  will  shine  brighter  and  brighter  in  future  years 
because  the  principles  which  he  evolved  are  founded  upon 
truth,  and  "  Truth  will   abide." 

Inquiries  regarding  Uelsarte  and  his  wonderful  system  are 
by  no  means  confined  to  those  directl}-  interested  in  the 
subject;  one  hears  the  question  asked  everywhere, — -on  the 
street,  in  the  parlor,  and  in  public  places.  It  has  been  so 
variously  and  incorrectly  answered  that  people  have  formed 
ver}-  ludicrous  notions  on  the  subject;  some  foolishly  be- 
lieving that  the  "  Delsarte  System  "  was  intended  to  teach 
us  to  sit,  walk,  and  move  about  after  a  new  fashion,  and 
other  notions,  too  absurd  to  have  been  dreamt  of  in  Del- 
sarte's philosophy,  or  in  an}-  other. 

Now,  then,  laying  aside  all  those  follies  and  divesting  the 
subject  of  its  technical  dress,  Delsartism,  in  brief,  is  a  phase  — 
of  nature  idealized,  that  is,  freed  from  those  features  which 
would  tend  to  direct  the  mind  from  a  contemplation  of  its 
beauties,  the  preservation  of  which  is  primarily  the  object 
of  all  art.  Delsarte's  death  in  the  year  1871  prevented,  it 
is  said,  a  visit  which  he  intended  making  to  this  country  for 
the  purpose  of  introducing  the  subject  of  his  studies  here. 
It  is  greatly  to  be  deplored  that  this  visit  was  never  made, 
as    it    might    have   been    the    occasion   of   his    leaving    some 


24  -^^i  //our  with  Delsarte 

indisputable  record  of  his  works ;  but  it  is  a  lamentable  fact 
that  he  died  without  having  committed  to  durable  form 
any  complete  account  of  his  extraordinary  labors  in  behalf 
of  aesthetic  science. 

In  view  of  this  fact  we  are  greatly  indebted  to  such  of 
Delsarte's  pupils  as  were  in  possession  of  his  manuscripts, 
and  to  others  who  have  made  careful  research  into  the 
subject,  for  having  made  a  conscientious  endeavor  to  give 
us  a  correct  arrangement  of  Delsarte's  system  of  expression 
as  formulated  by  himself. 

Without  wishing  to  criticise  these  various  published 
accounts,  to  our  mind  many  of  Delsarte's  formulas,  as 
presented,  seem  impracticable,  because  of  the  scientific  ter- 
minology in  which  they  are  framed,  and  deal,  beside,  with 
details  too  minute,  and  touch  considerations  too  remote, 
to  be  successfully  applied  to  study  or  exemplified  in 
practice,  however  important  they  may  be  to  the  theorist, 
the  sage,  or  the  scientist. 


Philosop/iy  of  Dclsarlcs  System  25 


V. 

PHILOSOPHY  OF    DELSARTE'S    SYSTEM. 

TT  was  Dclsarte's  great  discovery  that  the  human  soul, 
in  its  cov^ering  of  flesh  called  the  bod>',  moves  in 
obedience  to  universal  law ;  that  its  efiforts  to  manifest  it- 
self to  the  outer  world  are  restricted  to  the  conditions 
imposed  by  space,  time,  and  motion,  —  the  three  great  ele- 
ments by  which  its  activities  are  inevitably  environed ;  that 
the  soul  must  express  itself  in  space,  through  time,  by  mo- 
tion, —  in  other  words,  every  agent  of  expression  must 
appear  in  space  by  means  of  motion,  and  requires  time 
in  which  to  manifest  itself;  and  finally,  that  the  force  by 
which  this  motion  is  produced  is  supplied  by  the  soul,  or 
psychic  principle,  and  is  of  three  different  kinds,  each  cor- 
responding to  the  three  states  of  the  being  which  it  trans- 
lates in  expression. 

Thus,  when  this  force  causes  motion  outward,  or  from 
the  body,  it  is  said  to  proceed  from  our  physical  nature, 
and  is  called  Vital ;  when  this  force  causes  motion  inward, 
or  toward  the  body,  it  is  said  to  proceed  from  our  intel- 
lectual  nature,  and  is  called  Mental;    and  when  this  force  is 


V 


26  A  71  Hour  with  Delsarte 

poised, — that  is,  when  it  neither  causes  motion  from  nor 
toward  the  body,  but  tends  to  hold  the  body  in  poise,  —  it 
is  said  to  proceed  from  the  emotional  nature,  and  is  called 
Emotiv^e. 

In  every  human  being  one  of  these  three  natures,  or 
states  of  the  being,  as  they  are  called,  is  predominant,  while 
the  other  two  are  tributary  or  subordinate ;  and  the  degree 
of  this  predominance  of  the  one  state,  and  the  order  of 
importance  of  the  other  two,  are  the  root  and  source  of  all 
the  various  types  and  traits  in  mankind. 

For  example,  a  man  of  intellectual  habit,  or  one  in  whom 
the  mental  is  predominant,  will  reveal  his  nature  through 
subjective  motion,  or  motion  which  is  mainly  toward  the 
body.  On  the  contrary,  in  a  man  in  whom  the  vital  nature 
leads,  the  motion  will  be  chief!}'  objective,  or  from  the 
body;  and  if  the  emotional  nature  rules,  the  motion  will 
be  neither  directly  subjective  nor  objective,  but  may  par- 
take of  either,  according  to  the  extent  to  which  the  emo- 
tional nature  is  invaded  by  the  mental  or  the  vital. 

Again,  every  act  of  life  has  its  rise  in  one  of  these  three 
states  of  the  being,  and  traces  its  motion  and  motive 
to  one  of  them.  This  predominant  state  is  said  to  lead, 
while  the  other  two  assist  or  follow  the  former,  and  the 
resulting  action  corresponds  to  the  state  from  whence  it 
proceeds. 


Philosophy  of  Delsartcs  System  27 

Thus  we  find  the  scat  of  sensation  in  the  physical  na- 
ture, which  is  also  the  source  of  vitality,  and  reveals  itself 
through  outward  or  objective  motion.  The  seat  of  sen- 
timent is  in  the  emotive  nature,  which  is  the  source  of 
the  highest  emotions  of  the  soul ;  it  reveals  itself  through 
centred  or  poised   motion. 

The  seat  of  consciousness  is  in  the  mental  nature,  which 
is  the  source  of  thought,  and  is  revealed  through  subjective 
or  inward  motion.  It  should  be  borne  in  mind  here  that 
this  division  of  the  soul  into  separate  states  is  purely  an 
arbitrary  distinction,  and  is  made  for  the  purpose  of  facili- 
tating analytical  study.  It  is  a  matter  of  convenience 
merely,  and  has  no  existence  in  fact. 

The  testimony  of  the  eminent  psychologist,  Thomas 
Carlyle,    is   adduced    in   support   of  this    position :  — 

"  We  talk  of  faculties  as  if  they  were  distinct  things,  separable  ; 
as  if  a  man  had  intellect,  imagination,  fancy,  etc.,  as  he  has  hands, 
feet,  and  arms.  Then  again  we  hear  of  a  man's  '  intellectual  na- 
ture '  and  of  his  '  moral  nature  '  as  if  these  again  were  divisible,  and 
existed  apart.  Necessities  of  language  do  prescribe  such  forms  of 
utterance,  but  words  ought  not  to  harden  into  things  for  us.  We 
ought  to  know  withal,  and  to  keep  forever  in  mind,  that  these 
divisions  are  at  bottom  but  names ;  that  man's  spiritual  nature, 
the  vital  force  that  dwells  within  him.  is  essentially  one  and 
indivisible. 

"  All  that  a  man  does  is  ph)siognomieal  of  him  ;  you  may  see 


28  An  Hour  wilh  Delsarte 

how  a  man  would  fight  by  the  way  in  which  he  sings ;  his  courage, 
or  want  of  courage,  is  visible  in  the  word  he  utters,  in  the  opinion 
he  has  formed,  no  less  than  in  the  stroke  he  strikes.  He  is  one 
and  preaches   the  same   self  abroad  in   all   these  ways." 

Now,  in  the  same  way  that  the  soul  is  divided,  and  for 
the  same  purpose  of  study,  the  body  is  arbitrarily  separated 
into  three  grand  divisions,  each  division  corresponding  to 
one  of  the  three  states  of  the  being  which  it  represents, 
and  which  it  selects  as  its  favorite  ground  for  display. 

Thus,  the  head  represents  the  favorite  ground  for  the  ex- 
pression of  the  mental  nature ;  the  legs  and  arms  the  ground 
for  the  vital  nature ;  and  the  trunk,  or  torso,  the  ground 
for  the  emotive  nature.  Each  of  these  grounds,  or  divisions 
of  the  bod)',  is  subdivided,  and  again  we  have  the  three  states 
of  the   being  represented  in  these  subdivisions. 

In  the  domain  of  the  head  the  eyes  and  forehead  are 
mental,  the  nose  and  cheeks  are  emotional,  and  the  mouth 
and  lips  are  vital.  In  the  trunk  the  upper  torso  is  mental ; 
the  heart  region,  or  middle  torso,  is  emotional ;  and  the 
abdomen  is  vital.  For  the  legs  and  arms,  the  feet  and 
hands  are  mental,  the  fore-arms  and  lower  legs  are  emoti\'e, 
and  the    upper  arms   and   upper  legs   are  vital. 

Still  further  subdivisions  are  made  in  the  face,  hands, 
and  other  portions  of  the  body;  but  these  minute  distinc- 
tions   have    a    rather    doubtful    utility,    and    are    more    valu- 


would  voo' 


y 


Philosophy  of  Dclsartc  s  System  29 

able    to    illustrate    the    loi^ic    of    the    science    than    to    serve 
a   practical    purpose    for   general   stud)'. 

The  application  of  this  threefold  principle,  which  is 
the  basis  of  Delsarte's  philosoph)',  is  consitlered  under 
appropriate    headiny;s  in   the   subsequent   chapters.^ 

1  It  has  been  the  object  in  these  chapters  to  discuss  the  study  of  expression 
from  its  most  practical  and  least  theoretical  side.  To  those,  however,  who 
desire  to  enter  into  a  more  philosophical  investigation  of  the  question,  with 
a  view  to  grasping  the  relations  of  the  physical  to  the  metaphysical  man, 
"  The  Synthetic  Philosophy  of  Expression,"  by  Moses  True  Brown,  is  heartily 
recommended  as  being  the  most  comprehensive,  logical,  and  exhaustive  con- 
sideration of  the  subject  in  present  use. 


30  An  Hour  with  Delsarte 

VI. 

PRACTICAL    LESSON    ON    EXPRESSION. 

T  X  the  first  chapter  we  insisted  that  the  onl\'  way  to  be 
certain  the  pupil  comprehends  the  subject,  and  that  the 
result  desired  has  been  obtained,  is  to  demand  from  him  the 
idea  in  his  own  words.  To  farther  illustrate  our  plan,  we 
will  undertake  to  conduct  a  practical  lesson  on  the  subject 
of  "  Expression  "  before  an  average  class  of  pupils. 

"  Good  morning,  }^oung  ladies  and  gentlemen.  In  our 
previous  lessons  I  have  done  most  of  the  talking,  in  order 
to  give  you  a  general  idea  of  the  requirements  of  the  study. 
That  I  ma>'  discover  how  much  thinking  )'ou  have  done,  I 
shall  now  reverse  matters,  and  you  must  give  me  the  infor- 
mation. We  will  begin  by  asking  Miss  Mary  to  tell  us  what 
we  are  here  to   study." 

Mary's  face  radiates  sunshine  as  she  readily  attempts  to 
repl}-.  She  hesitates,  however,  and  then,  on  taking  second 
thought,  the  sunshine  disappears  behind   a  cloud. 

"  \Vh}%  it's  to  study  —  oh,  it's  to  study  —  oh,  it's  —  win', 
it's  to  —  oh,   I  know,  but  I  can't  just  tell." 

"  Ah,  but  \"ou  have  heard  it  said  that  if  you  can't  tell,  \-ou 
don't  know." 


Prac Ileal  Lesson  on  Iixpression  31 

"Well,  then,"  returns  Miss  Mar)-,  coura<^eously  resumini^ 
the  attack,   "  it 's  to  stutl)-  elocution." 

"Then  you  think  we  are  here  merely  to  learn  how  lo 
read?  " 

"  Oh,  I  know  that  is  n't  right,"  admits  the  young-  lad)-, 
"  but  I  can't  exact!)-  express   it." 

"  Miss  G.,  perhaps  )'ou  can  assist  us  in  finding  out  w  hat 
we  are  here  to  stud)-?" 

Miss  G.  proceeds  with  more  caution:  "Well,  I  think  it  is 
to  learn  the  art  of  acting." 

"  Very  true,  but  that  is  not  all ,  besides,  we  are  not  all 
studying  for  the  stage.  Tell  me  in  one  word  what  we  are 
here  to  stud)-." 

"  Delsarte  !  "   triumphantl)-  shouts  little   Miss  A 

"  Miss  A.  sa)'s  '  Delsarte,'  but  she  forgets  that  Delsarte 
is  a  means,  not  an  end.  Now,  then,  to  what  end  are  we 
studying?  " 

"It's  to  learn  dramatic  expression,'  \entures  thoughtful 
Miss  L. 

"  Ver)-  true,  indeed;"  and  all  the  others  regard  Miss  L. 
with  little  glances  of  envy.  "  But  why  sa)-  '  dramatic  expres- 
sion'?" The  glances  of  envy  are  withdrawn.  "Tell  me  in 
one  word  the  end  and  object  of  our  studies." 

"  Expression."  choruses  the  class. 

"Right!      We    are    here   to    master   the  art  of  expression. 


32  An  Hour  witk  Delsarte 

Now,  then,  let  us  emblazon  that  word  in  large  letters  here  on 
the  blackboard,  so  that  it  will  stand  out  conspicuously  from 
all  other  words,  and  so  that  we  may  keep  it  constantly  before 
our  minds,  —  that  the  great  end  and  object  of  our  studies  is 
expression;  not  dramatic  expression,  not  facial  expression, 
but  expression  only,  —  expression,  pure  and  simple.  Now, 
then,  I  want  some  one  to  tell  me  what  we  understand  by 
expression.  Miss  S.,  what  do  you  understand  by  the  term 
'  expression  '  ?  " 

Miss  S.  looks  as  if  she  occupied  a  position  of  extreme 
peril,  and  fears  to  hazard  a  reply.  The  others  show  a  fellow- 
sympathy  for  her  distress.  Presently  she  falters,  "  Ahem  ! 
it's  —  er  —  ah  —  it's  —  er,  well,  I'm  sure  I  don't  know,  —  if 
it  isn't  the  expression   of  our  faces." 

"  Is  expression  confined  then  to  our  faces?  Give  me  a 
comprehensive  reply  in  your  ov\n  choice  of  language  that 
will  answer  the  question,  'What  is  expression?'  You  tell 
us.    Miss   K." 

"Why,  expression,"  urges  Miss  K.,  desperately,  "shows 
how  we   feel,   how  we   act,   how  we   look." 

"  But  you  are  a  little  mixed ;  our  feelings  are  a  subject 
of  expression,  and  our  looks  and  actions  are  modes  of 
expression.  I  want  you  to  reply  to  me  as  to  a  stranger 
who  seeks  enlightenment  on  the  subject.  Mr.  R.,  what  do 
you   say  expression    is?" 


Practical  Lesson  on   Expression  33 

"Well,"  obscrxcs  Mr.  R.,  learned!}',  "  I  think  expression  is 
the  sum  of  all  our  actions." 

"  A  ver\-  ini^enious,  but  scarcel\'  an  instructi\'e,  rcpl)-. 
There  is  doubtless  a  L^reat  deal  expressed  in  the  sum  total 
of  our  actions,  but  that  does  not  help  us  to  understand 
what  the  term  '  expression '  signifies  in  the  sense  we  are 
using   it." 

"  It  means  actions,"  exclaims  some  one,  thinking  to  profit 
by  the  brevit}-  of  the  first  definition  ;  "  Feeling,"  sa\-s 
another,  seizing  on  the  same  mental  thread  ;  "  The  expres- 
sion of  emotion,"  saj's  a  third ;  and  then  some  one  calls 
out,  as  if  b)'  inspiration,  "  It  is  a  sign  of  the  state  of  the  '- 
mind." 

"  Ah,  there  wc  have  it.  '  A  sign  of  the  state  of  the 
mind,'  with  a  slight  alteration,  and  wc  are  out  of  the  diffi- 
culty." And  at  this,  each  one  feverishly  begins  to  formu- 
late a  reply  based  on   this  idea. 

"The  outward  expression  of  the  mind,"  suggests  one; 
"The  sign  of  thought,"  submits  another;  "The  manifesta- 
tion of  life,"  essays  a  third;  and  a  fourth,  "The  outward 
sign   of  human   nature." 

"  Very  good,  indeed  ;  each  of  your  answers  embodies  the 
idea.  Now,  out  of  these  various  definitions  let  us  form  one 
that  will  exactly  state  the  meaning  in  the  fewest,  simplest 
words;    and  remember  that  words  mean  just  what  we  under- 


34  ^^i  Hour  with  Dclsarte 

stand  by  them  and  nothing  more.  Let  us  say  then  that 
expression  is  a  sign  of  the  being;  and  while  I  am  writing 
the  words  on  the  blackboard  opposite  the  word  '  expres- 
sion,' please  turn  them  over  in  your  minds  so  that  we  may 
agree  exactly  as  to  our  understanding  of  them.  Now,  then, 
we  will  proceed  one  step  farther,  and  I  will  ask  you  what 
meaning  you  attach  to  the  word  '  being.'  Mr.  A.,  what 
do  you    understand   by  the  word?" 

Having  now  become  warmed  to  the  subject,  the  timid 
have  put  by  their  reserve,  and  the  doubtful  have  grown  bold ; 
so  Mr.  A.  promptly  answers,  "I  think  'being'  means  the 
soul."  "  No,  the  mind,"  corrects  another,  in  his  ardor  for- 
getting his  courtesy.  "  Life,"  "  Vitality,"  "  Existence,"  sug- 
gest various  others  in  the  same  breath. 

"Again,  you  are  each  of  you  right;  but  again,  for  the 
purpose  of  agreeing  in  our  understanding,  let  us  unite  on  a 
common  definition  that  will  convey  to  each  of  us  the  same 
meaning.  Remembering  now  what  we  said  about  words, 
that  they  mean  just  what  we  understand  by  them,  let  us 
take  Webster's  definition  of  the  word  '  being :  '  '  Being  is 
that  which  exists  in  any  way,  whether  it  be  material  or 
spiritual.'  Now,  then,  we  have  said  that  expression  is  a 
sign  of  the  being.  I  will  ask  you,  Mr.  B.,  to  exem- 
plify or  apply  that  definition  in  your  own  person  by  some 
action." 


Practical  Lesson  on   Expression  35 

Mr.  B.  reflects  an  instant,  diirini^  an  impressive  silence, 
and  then  admits  that  he  is  unable  to  do  so.  at  the  same  time 
shifting  in  his  scat  and  crossing  his  legs  with  embarrassment 
in  his  manner. 

"  Why  did  \'ou  shift  so  in  your  seat  and  cross  your  legs 
when  }-ou    replied  ?  " 

"Well,"  he  continues,  more  ct)nfused  than  e\er,  "  1  scarcely 
know;    I  suppose    it's    because    I   was   a  little   nervous." 

"  Exacth',  because  \'ou  were  a  little  nervous;  you  are 
not  in  the  habit,  I  see,  of  anal)v.ing  these  signs  of  \'our  be- 
ing; you  answered  m\'  question  unconsciousl)-.  The  cross- 
ing of  \'our  legs  and  the  shifting  about  in  )-our  chair  plainl}- 
revealed  or  expressed  the  state  of  )'our  feelings,  and  was 
therefore  a  sign  of  }-our  being.  Now  tell  me  what  \ou  lui- 
derstand  by  expression,   Mr.   B." 

Promptly  comes  the  reply:  "  Expression  shows  the  condi- 
tion or  state  of  the  feelings." 

"  Precisel)-.      And  the  feelings  are  a  part  of  what,  Miss  \\?" 

She  hesitates. 

"  Can  an}'  one  tell?  " 

"  The  being,"  comes  from  several. 

"And  the   mind   is  a  part  of  what?" 

"The  soul,  —  no,   no,  the   being." 

"  And  the  soul?  " 

"  The  bein<>"." 


36  An  Hour  with  Delsarte 

"  Is  there  an\'  attribute  of  man,  mental,  emotive,  or  vital, 
material  or  spiritual,  that   is  not  a  part  of  the  being?  " 

"  None.  " 

"  If  I  prick  }ou  with  a  pin  and  you  cry  out,  what  does 
that  mean,   MissV.  ?" 

"  It  means  that  I   am  hurt." 

"True,  but  does  your  cry  express  anything?" 

"  It  expresses  pain." 

"And  the  act  of  crying  is  the  sign  of  what?" 

"  A  sign  of  the  being." 

"  If  I  hand  you  a  problem  in  arithmetic  and  ask  you  to 
solve  it,  and  in  return  you  speak  a  number,  what  might  we 
call  your  answer,   Mr.  A.?" 

"  An   expression   of  the   mind." 

"Which   is  a  sign   of  what?" 

"  A  sign  of  the  being." 

"  If  I  were  suddenl}-  to  bring  you  intelligence  of  some 
terrible  calamity  to  your  family,  and  you  were  to  faint  at 
hearing  the  news,  what  would  the  act  of  fainting  signify  or 
express,   Miss   L.  ?  " 

"  It  would  express  grief  or  sorrow." 

"Which  is  a  sign  of  what?  " 

"  The  being." 

"  If  I  prick  the  skin  of  a  dead  person,  there  would  be 
no  response.     Why,   MissF.?" 


Practical  Lesson  oil  Expression  37 

"  Because  the  person  is  dead." 

"Why  is   the  person  dead?" 

An  awkward  pause;  then,  after  a  moment  of  profounil  de- 
hberation,  "  Because  the  spirit  has  fled." 

"And  the  spirit  is  what?" 

"  The  beinij." 

"  But  we  said  a  moment  since  that  the  body  was  a  part 
of  the  being;  in  the  dead  person  we  have  tlie  body  still, 
yet  you  say  the  being  is  gone." 

"  Oh,  yes,  I  know  now;  the  spirit  is  a  part  of  the  being." 

"  Exactly;  then  the  body  is  essential  to  the  being  as  well 
as  the  soul?  " 

"  Yes." 

"  And  if  I  prick  the  skin  of  a  dead  person,  why  will  he 
make  no  sign;    that  is,  express   nothing?" 

"  Because  the  body  without  the  soul  is   not  a  being." 

"  Precisely,  because  the  being  no  longer  exists.  Now  let 
us  write  this  on  the  blackboard,  following  the  last  definition, 
and  our  lesson  reads :  — 

(  The   Si^n   of  the   Being. 
Expression  \  "  ,        ,  ,     ,    ,, 

\  The   Benig  is  Soul  and   Body. 


;^8  An  Hour  with  Delsarte 


VII. 

VITAL    DIVISION. 

T  T  will  be  remembered  that  Delsarte  divided  the  body 
into  three  grand  divisions,  to  correspond  with  the 
vital,  mental,  and  emotive  states  of  our  being,  because 
each  seemed  to  select  one  of  these  as  its  principal  agent 
of  expression  as  if  by  preference ;  and  that  he  also  subdi- 
vided these  grand  divisions  into  tracts  or  zones  from  which 
and  to  which  the  hand  and  arm  in  gesture  seemed  to  move 
naturally. 

In  the  grand  divisions  he  selected  the  limbs  as  the  prin- 
cipal agents  of  the  \ntal  nature,  because  they  disclose  the 
greatest  power  of  action  and  physical  strength.  They  are 
the  levers  which  sustain  motion,  and  among  the  more  ani- 
mal races,  the  lower  the  grade  of  intelligence,  the  higher 
the  degree  of  muscular  development  attained  in  the  ex- 
ercise of  these  members.  They  are  simply  the  manifes- 
tation of  vital  life.  As  man  becomes  civilized  and  refined 
there  is  a  greater  freedom  in  the  movements  of  the  arms 
and  legs,  showing  a  blending  of  the  mental  and  emotional 
natures  with   the   vital ;    and   they  perform   a  varied    service 


Vital  Division  39 

in  connection  with  the  head  antl  torso  in  the  function  of 
expression. 

In  the  divisions  of  the  Ie_L,r,  Uelsarte  tlesi^nates  the 
upper  leg,  or  thigh,  as  vital  because  the  impelling  force 
which  gives  impulse  to  the  leg  in  walking  is  first  felt 
here.  His  reason  for  ascribing  to  the  lower  leg  the  office 
of  revealing  the  emotional  nature  is  admirably  shown  in 
the  act  of  kneeling,  when  we  would  express  a  subordina- 
tion of  self  to  the  will  of  others  in  supplication,  entreaty, 
appeal,  reverence,  and  obedience. 

No  argument  is  required  to  prove  even  to  the  satisfac- 
tion of  the  most  sceptical  that  the  foot  is  the  direct  agent 
of  the  mental  nature.  How  often  we  detect  a  person's 
nervous  mental  state  through  the  unconscious  tapping  of 
the  foot  upon  the  floor!  Our  intention  to  advance  or  re- 
treat is  gestured  by  the  feet.  We  will  endeavor  to  show 
that  the  ruling  condition  or  sentiment  of  the  individual  is 
indicated  in  the  position  of  the  feet,  as  evinced  in  the 
following  illustrations  drawn   from   familiar  attitudes. 

If  the  feet  are  separated,  one  slightly  in  advance  of  the 
other,  the  weight  resting  on  the  balls  of  the  feet,  it  indi- 
cates repose  or  poise  of  the  being.  Kmotive  nature  pre- 
dominates (see  Fig.  6). 

If  there  is  a  transition  of  the  weight  to  the  front  of  the 
foot,  the  motion  being  outward  or  from  the  centre,  we  con- 


40  An  Hour  with  Delsartc 

elude  that  it  is  impelled  from  the  vital  nature ;  if.  on  the 
other  hand,  the  transition  of  the  weight  is  toward  the  back 
of  the  foot,  inward  or  toward  the  centre,  it  shows  that  the 
mental  nature  directs  the  action.  If  the  weight  of  the 
body  rests  mainly  upon  the  back  leg,  and  the  knee  of 
the  advanced  leg  is  bent,  it  indicates  reserved  force, 
thought,  reflection.  It  shows  that  the  mind  of  the  indi- 
vidual rules ;  that  he  is  a  thinker.  Mental  nature  pre- 
dominates. 

If  the  feet  are  slightly  separated  and  pointing  directly 
forward,  it  indicates  rusticity,  or  a  feeble  condition,  as  a 
child    learning  to    walk.     Vital    nature   predominates. 

If  the  attitude  is  not  natural,  but  has  been  assumed,  it 
indicates  that  the  inferior  stands  before  the  superior  in 
the  person  of  the  valet,  or  the  soldier.  Emotive  nature 
active. 

If  the  legs  are  wide  apart,  we  are  led  to  infer  that  the 
person  is  either  in  a  state  of  fatigue  or  intoxication,  or  that 
he  is  familiarly  vulgar.  The  attitude  denotes  also  brag- 
ging,   pomposit)',    and    bluster;    vital   nature   predominating. 

If  the  condition  is  that  of  prostration,  the  weight  will 
be  upon  the  back  leg,  the  knee  bent,  the  forward  leg  free ; 
vital  nature  prominent. 

When  the  weight  of  the  body  rests  entirely  upon  the 
back   foot,    and   both   legs  are   straight,    it  shows   a   state   of 


■^ 


€ 


I  wor\Gier 


K^-^  OP 


THE 


IVERlITTl 


Vila/  Divisio7i  41 

antagonism,  defiance,  or  daring;  vital  nature  predomina- 
ting (see  P'ig.  4). 

If  the  feet  are  separated  and  the  weight  is  borne  equally 
on  both,  the  posture  indicates  indecision,  doubt,  or  delib- 
eration: "Shall  I  go  or  staj',  advance  or  retreat?"  Mental 
nature  predominating. 

If  the  forward  knee  is  bent,  it  shows  attention  or  in- 
tention, and  reveals  a  vehement  or  passionate  tendency; 
either  vital  or  emotive  nature  predominating. 

When  the  weight  rests  upon  one  foot  and  the  knee  is 
straight,  the  other  leg  free  and  the  foot  resting  on  its  side, 
the  attitude  indicates  a  listening  state  or  one  of  eager  sus- 
pense ;    equal  predominance  of  the   mental  and  emotive. 

When  a  person  is  in  a  state  of  exaltation,  the  weight 
will  rest  upon  the  advanced  foot,  the  back  leg  entirely 
free  and  the  knee  straight ;  the  degree  of  feeling  will  de- 
termine whether  the  back  foot  rests  fully  upon  the  ground 
or  is  raised ;    in  this,  emotive  nature  predominates. 

These  attitudes  of  the  feet  and  legs,  revealing  the  men- 
tal, vital,  and  emotional  conditions,  should  be  carefully 
considered,  as  well  as  the  innumerable  \ariations  arising 
from  the  diversity  of  sentiments  and  emotions.  The\-  should 
be  analyzed  and  practically  applied  as  necessity  or  occasion 
may  require. 

The   arm,    like    the    leg,   reveals    the    activity  of  the    vital 

5 


42  An  Hour  ivith  Delsarte 

nature,  and,  as  an  agent  of  expression,  has  three  centres 
of  motion :  that  of  the  shoulder,  which  as  a  subdivision 
Delsarte  designates  as  vital  because  the  force  from  the 
brain  seems  to  flow  into  the  upper  arm  first,  thus  moving 
all  other  parts  from  this  centre.  While  the  action  of  the 
shoulders  is  vital  in  significance,  they  are  also  moved  by 
our  higher  emotions ;  in  consequence  Delsarte  called  the 
shoulder  a  thermometer  or  indicator  of  sensibility  or  pas- 
sion, leaving  the  face  to  determine  whether  the  action 
springs  from  love  or  hate. 

The  emotive  nature  is  revealed  through  the  second 
centre  at  the  elbow.  When  in  repose  it  indicates  ease, 
modesty,  and  self-possession.  When  turned  outward  from 
the  body  it  indicates  conceit,  tenderness,  self-assertion ; 
when  turned  inward  toward  the  body  it  indicates  weakness, 
humility,  subordination  of  self.  The  third  centre  in  the 
arm  reveals  the  mental  nature  through  the  motion  of  the 
wrist,  which  is  the  direct  agent  of  the  hand ;  it  directs 
the  hand,  presents  it,  and  therefore  requires  great  cultiva- 
tion in  order  to  render  it  supple,  free,  and  strong. 

The  attitudes  of  the  arms,  like  those  of  the  legs,  reveal 
the  ruling  state  in  the  being  or  individual. 

There  is  no  part  of  the  human  body,  unless  we  except 
the  face,  more  significant  in  its  actions  than  that  of  the 
hand ;    for  while  "  the  eye   may   be   trained   to   deceive,  the 


Vital  Division  43 

features  may  be  schooled  to  assume  a  stolid  indifierencc 
under  circumstances  of  mental  emotion,  the  impulsive 
pressure  or  in\oluntary  movement  of  the  hand  frequently 
betrays  the  truth.  The  motions  of  the  hand  add  force  to 
argument,  and  often  speak  a  silent  language  of  their  own, 
portraying  fear,  astonishment,  or  grief  beyond  the  power 
of  words  to  convey." 

To  the  hand  are  assigned  various  offices  which  it  is 
impossible  for  the  face  to  express.  "  It  can  handle  the 
object,  sketch  it,  and  project  it  in  form  into  space."  We 
draw,  paint,  play,  work,  and  write  with  the  hand ;  we  de- 
fine, indicate,  affirm,  deny,  mould,  detect,  conceal,  reveal, 
surrender,  hold,  accept,  reject,  inquire,  acquire,  support, 
assail,  caress,  and  protect.  All  the  knowledge  of  the  deaf 
and  dumb  is  acquired  through  a  language  which  is  revealed 
by  the  hand. 

Each  of  the  three  states  of  being  is  disclosed  through 
the  hand ;  it  lends  itself  to  whiche\er  state  predominates 
in  activit}-,  and,  like  the  leg  and  arm,  indicates  the  con- 
dition of  the  being.  For  instance,  if  the  fingers  are  folded 
in  the  palm  with  the  thumb  upright  at  the  side  of  the  first 
finger,  it  indicates  a  condition  of  self-possession  and  power; 
if,  instead  of  resting  at  the  side,  the  thumb  is  pressed 
tightly  across  the  second  joints  of  the  closed  fingers,  reso- 
hition  or  struggle  is  indicated. 


44  A^i  Hour  with  Delsarte 

If  the  fingers  and  thumb  are  crooked  at  the  first  joints 
toward  centre  of  pahn,  it  indicates  a  condition  of  exas- 
peration ;  if  the  hand  is  nearly  closed  it  is  that  of  convul- 
sion. Animated  attention  is  shown  by  the  open  hand, 
fingers  straight,  thumb  slightly  spread.  If  the  hand  is 
prone  it  signifies  earnestness ;  if  the  fingers  are  energized 
it  indicates  passion  and  vehemence.  Trust  and  tender- 
ness are  revealed  through  the  open  palm  with  the  ends, 
of   the    fingers    slightly    curved. 


Mental  Division  45 


VIII. 

MENTAL    DIXTSION. 

TN  the  grand  divisions  of  the  bod\-  the  head  is  the  special 
agent  of  the  mental  nature  ;  it  contains  the  brain,  the 
■organ  of  the  mind,  the  development  of  which  is  shown 
in  the  formation  of  the  cranium  and  face,  which,  taken 
in  connection  with  manner,  are  a  faithful  reflex  of  the 
mind.  Says  Addison,  "  Every  passion  gives  a  particular 
cast  to  the  countenance,  and  is  apt  to  discox'er  itself  in 
some  feature  or  other.  I  have  seen  an  eye  curse  fi)r 
half  an  hour  together,  and  an  e}'ebrow  call  a  man 
scoundrel." 

A  full,  high  forehead,  with  well-j^roportioned  features, 
contrasted  with  a  low,  receding  brow  and  projecting  cheek- 
bones, outwardly  mark  the  extremes  between  intellectual 
superiorit)'  and  mental  densit\\ 

The  highest  and  lowest  grades  of  intelligence  in  man- 
kind closely  approximate  in  appearance  these  external 
distinctions  of  feature;  and  as  we  said  of  the  limbs  in 
the  chapter  on  the  xital  division  of  the  body,  that  the)- 
attain   the   greatest    perfection    of   physical    strength    among 


46  An  Hour  with  Dels  arte 

the  inferior  races  of  men,  so  in  the  highly  sensitive  organ- 
isms of  the  more  advanced  races,  as  the  quaHty  of  the 
material  becomes  finer  and  the  quantity  is  lessened,  there 
is  a  gradual  development  toward  the  perfection  of  flex- 
ible strength. 

Muscular  flexibility  is  found  in  its  greatest  perfection 
among  intellectual  people ;  and  as  the  intellectual  fibre  be- 
comes coarse  in  quality,  so  the  muscles  lose  their  delicacy, 
and  as  the  muscles  gain  in  mere  physical  force,  they  lose 
in  temperamental  or  flexible  strength. 

As  in  the  subdivisions  of  the  limbs  the  invasions  of  the 
vital  nature  by  the  mental  and  emotive  are  shown,  so, 
too,  the  invasions  of  the  mental  nature  by  the  emotive 
and  vital  natures  are  illustrated  by  the  subdivisions  of  the 
head  into  three  zones  or  tracts,  each  corresponding  to 
a  qualified  or  complex  state  of  one  of  the  great  principles 
of  the  being.  Thus  the  region  of  the  head  about  the 
mouth  and  jaws  is  selected  to  express  a  phase  of  the  vital 
nature,  the  region  of  the  cheeks  and  nose  answering  to 
a  similar  purpose  for  the  emotive  nature;  while  the  eyes 
and  forehead  are  the  mental  centre  of  the  mental  division, 
and  therefore  the  most  expressive  agency  of  the  mental 
nature  in  the  body. 
I  The  mind  is  revealed  most  directly  through  the  eye, 
which   translates  with    marvellous   fidelity  the  nicest   shades 


h  Kwe  no  pke& 


io^I 


a 


Mental  Division  47 

of  thought  and  feeling.  An  active  or  a  shiggish  mental 
habit  is  revealed  through  the  eye  by  the  brightness  or 
dulness   of   that    organ. 

A  brow  corrugated  with  scams  and  wrinkles  is  the  ex- 
ternal evidence  of  a  life  of  thought  or  much  care,  just 
as  the  brow  innocent  of  a  line,  over  blank,  staring  eyes, 
betokens    a   vacuous    mind. 

The  emotional  nature  is  expressed  in  the  face  through 
the  blush  and  pallor  of  the  cheeks,  and  in  the  nose 
through  the  dilation  and  contraction  of  the  nostrils  in  the 
various  forms  of  excitability  and  sensibility.  The  nostrils 
dilate  in  anger,  passionate  resentment,  and  the  like,  while 
contempt  and  cruelty  contract  them. 

Like  the  eyes  and  forehead,  the  construction  or  shape 
of  the  nose  and  cheeks  is  partly  indicative  of  the  character 
of  the  individual ;  thus,  a  nose  cast  in  an  heroic  or  grace- 
ful mould  is  rarely  found  disassociated  with  some  admi- 
rable qualities  of  mind  or  heart,  and  a  pinched,  peaked, 
or  flat  nose  nearly  always  accompanies  a  mean,  peevish, 
or  craft}'  nature. 

So,  too,  the  blending  of  the  vital  nature  with  the  men- 
tal, as  shown  in  the  shape  of  the  mouth,  jaws,  and  upper 
neck,  has  its  share  in  determining  character.  Heav\-.  sen- 
suous lips,  square,  massive  jaws,  and  a  thick  neck  leave 
little    for    conjecture   as  to  the   prevailing    traits   of  the   per- 


48  An  Hour  %uith  Dclsarte 

son  possessing  them.  From  this  to  the  thin,  compressed 
lips,  bony  jaws,  and  pointed  chin  of  hardness  and  cruelty, 
there  is  ev^ery  grade  of  natural  impulse,  from  the  most 
vicious  to   the    most  virtuous. 

The  mouth  is  the  seat  of  the  organs  of  voice  and  taste, 
both  of  which  are  vital  in  expression ;  but  it  is  also  con- 
cerned in  the  production  of  articulate  speech,  —  a  direct 
agent  of  the  mental  nature.  The  lips  readily  lend  them- 
selves to  whichever  state  of  the  being  leads  the  activities. 
They  are  parted  in  astonishment,  suspense,  and  awe ;  they 
are  bloodless  and  compressed  in  the  heat  of  vital  passions, 
and  they  are  pursed  and  drawn  in  sympathy  with  mental 
endeavor. 

Enthusiasts  and  visionary  people  habitually  carry  their 
heads  elevated,  whereas  the  tendency  of  grave  and  thought- 
ful habits  is  to  lower  the  head  and  eye.  Thus  the  at- 
titude of  the  head  frequently  denotes  the  disposition  of 
the   individual. 


Kmotive  Division  49 


IX 

EMOriXK    DIVISION. 

/\  S  the  function  of  the  limbs  in  the  divisions  of  the  body 
is  vital,  and  that  of  the  head  mental,  so  the  emo- 
tive nature  has  its  base  of  operations  in  the  torso,  or  trunk, 
and  is  the  seat  of  the  passions  and  higher  emotions.  In  the 
subdivisions  of  the  torso  the  region  of  the  lungs  appears 
to  be  the  seat  of  the  mental  nature ;  the  heart,  in  which 
centre  the  affections,  is  the  dwelling-place  of  the  emotive 
nature;  and  the  vital  nature  lodges  in  the  abdomen,  which 
is  the  headquarters  of  the  appetites.  These  subdivisions 
of  the  torso  are  the  points  for  the  arrix'al  and  departure  of 
gestures  of  the  hand  and  ami,  which  thus  indicate  the 
principle  of  being  predominating  in  expression.  When  the 
breast  heaves  and  swells  under  the  stimulus  of  some  noble 
impulse  we  know  that  the  mental  has  invadetl  the  emo- 
tive nature,  and  stirred  the  being  to  the  projection  of  some 
lofty  purpose;  and  the  open  hantl  is  laid  upon  the  breast 
to  show  that  the  individual  is  commilled  to  a  worth}'  c\m\. 
In    moments   of  the    highest    exaltation    the    whole    being   is 


50  An  Hour  with  Delsarte 

said  to  be  poised,  when  head,  heart,  and  hand  are  in  per- 
fect accord,  and  are  united  in  the  pursuit  of  one  great 
object.  At  such  times  the  individual  is  capable  of  the  high- 
est in  his  nature.  The  eye  lights  up,  the  nostrils  dilate,  the 
color  comes  and  goes,  the  chest  heaves,  the  limbs  move 
with  unwonted  ease  and  grace,  and  the  whole  man  be- 
comes grander,  as  indeed  he  reall}-  is;  for  at  such  mo- 
ments  he  is   incapable  of  petty  things. 

If  the  gesture  seeks  the  heart  region,  or  emotional  division, 
the  affections  predominate;  when  the  vital  nature  rules,  the 
gestures  seek  the  abdomen,  as  this  is  the  seat  of  the  appe- 
tites and  grosser  passions.  In  the  second  chapter  of  this 
book  we  call  attention  to  the  significance  which  the  undue 
prominence  of  either  of  these  divisions  gives  to  the  car- 
riage of  the  body  as  revealing  the  nature  of  the  individual. 
Egotistical  and  conceited  people  express  their  predomi- 
nating characteristic  through  the  prominence  of  the  chest; 
as  we  have  previously  stated,  many  people  have  the  abomi- 
nable habit  of  protruding  the  abdomen. 

In  a  proper  carriage  or  bearing  of  the  torso,  the  heart 
region  will  be  prominent,  the  abdomen  contracted,  and  the 
shoulders  flexible   and   free. 

We  cannot  better  conclude  this  brief  consideration  of  the 
divisions  of  the  body  than  b}-  quoting  the  physiognomist 
Lavater,    in    support    of    Delsarte's    theor}- :     "  These    three 


Emotive  Division  51 

states  of  the  soul  do  not  lodt^c  in  separate  apartments  of  the 
body,  but  co-exist  in  ever)'  part,  and  form  by  their  combina- 
tion one  whole;  yet  it  is  true  that  each  of  these  principles 
has  its  particular  place  of  residence  in  the  body,  where  it  in 
preference  manifests  and  exerts  itself." 


52  An  Hour  with  Delsarte 


X. 

DELSARTE'S    NINE    LAWS    OF    GESTURE. 

\  LL  who  have  carefully  and  thoughtfully  perused  the 
'^^  preceding  chapters  will  have  no  difificulty  in  deter- 
mining the  fact  that  we  are  enabled  accurately  to  convey  M 
our  thoughts  and  feelings  through  the  medium  of  the  body 
in  the  form  of  gestures  or  motion,  and  that  it  is  possible  to 
trace  every  movement  of  the  body  back  to  the  sensation, 
thought,  or  emotion  which  created   it. 

We  are  perhaps  apt  to  consider  the  voice  as  the  most 
important  agent  of  expression ;  and  while  its  power  is  not 
to  be  denied,  when  we  realize  what  lasting  impressions  are 
conveyed  through  the  expression  of  the  eye  and  hand  alone, 
how  they  magnetize,  influence,  interest,  and  persuade,  we  are 
forced  to  admit  that  "Actions  speak  louder  than  words," 
and  that  gesture  is  superior  to  speech.  Says  Addison, 
"  A  man's  speech  is  much  more  easily  disguised  than  v 
his  countenance." 

According  to  his  exponents,  Delsarte  formulated  nine  laws 
of  gesture.  First,  the  Law  of  Motion,  which  we  have  already 
described    as    the    centre    of    his    system.     Motion    is    force 


LooK.fhere' 
ho.hojio' 


>^  OP  THE     ^ 

[UiriVEE:iTTl 


Nine  Laws  of  (icstnrc  53 

expending  itself.  Dclsarte  was  the  first  to  ap[)l)-  ihc  three 
modes  of  motion  to  the  three  states  of  the  being.  Motion 
corresponding  to  the  \'ital  state  moves  outward  from  the 
centre;  motion  which  corresponds  to  the  mental  state 
moves  inward  towartl  the  centre;  while  the  emotive  state 
is  manifested  through  either  outward  or  inward  motions,  or 
that  which  is  balanced  or  poised  according  to  the  nature 
of  the  emotion. 

Delsarte's  second  law  is  that  of  X'elocit)':  "The  velocity 
of  any  agent  is  in  proportion  to  the  mass  moved  and  the 
force  moving."  That  is  to  say,  a  weighty  idea  or  grave 
emotion  requires  deliberate  or  slow  gestures  moving  through 
large  space,  while  thoughts  and  emotions  of  a  lighter 
character  are  gestured  b}-  short,  rapid  movements.  The 
same  is  true  of  the  voice ;  gra\'e.  deep  tones  accompany 
grand  subjects,  while  lighter  tones  denote  less  weighty 
feelings. 

The  third  law  is  that  of  Direction  and  Extension.  All 
gestures  must  have  direction:  vital  gestures  are  generally 
projected  forward  from  the  body  or  lengthwise,  mental  ges- 
tures are  directed  above  or  pointed  below,  while  emotional 
gestures  are  throw  n  out  laterally ;  and  the  extension  of  ges- 
ture is  shown  in  the  degree  of  our  self-surrender  or  the 
completeness  of  our  giving  up  to  the  state  b\-  which  ue 
are    dominated.      It    should    be    borne    in    mind    that    these 


54  A7i  Hour  ivith  Delsarte 

definitions  apply  as  well  to  the  inner  being  and  explain  the 
direction  or  tendency  and  bent  of  thought. 

Reaction  is  Delsarte's  fourth  law:  "Every  extreme  of 
emotion  tends  to  react  to  its  opposite.  Concentric  states 
tend  to  explosion,  and  explosion  to  prostration."  The  prin- 
ciple is  shown  in  the  rebounding  of  a  ball  thrown  against 
a  hard  wall ;  it  returns  to  the  hand  which  gave  it  impetus 
with  its  force  diminished  only  by  the  resistance  of  gravita- 
tion. This  ball  may  be  said  to  represent  the  human  soul 
when  the  vital  nature  is  supremely  dominant. 

This  state  of  the  being  is  outwardly  shown  by  great 
physical  exertion,  and  is  immediately  followed  by  intense 
calm,  betokening  the  relaxed  state  of  the  mind,  which  is  the 
natural  consequence  of  undue  excitement.  This  law  is  fre- 
quently illustrated  in  the  passion  of  a  child  which  has  long 
been  chafing  under  the  restrictions  of  maternal  discipline. 
The  child  has  been  forbidden  some  form  of  youthful  pastime, 
which  in  the  maternal  instinct  seemed  harmful ;  the  little 
fellow  feels  that  he  has  been  hardly  used,  and  broods  over 
his  trouble,  at  first  sullenly,  but  afterward  more  demonstra- 
tively. He  thinks,  "  What  a  cruel  mother  I  have  !  "  this  is 
succeeded  by  angry  resentment  manifested  in  kicks  and  half- 
stifled  murmurs  of  discontent,  which  having  no  effect,  the 
long  pent-up  feelings  find  their  climax  in  a  flood  of  pas- 
sionate   tears.      After    this    outburst    tired    nature    comes  to 


Nine  LaiL's  of  (icsturc  cc^ 

the  rescue,  and  the  reaction  is  seen   as  the  infant  rebel  sobs 
himself  to   sleep 

The  Law  of  Form  may  be  defined  as  the  fi^aire  or  shape 
by  which  matter  is  presented  to  the  sight.  As  applied  to 
gesture,  all  motion  describes  certain  shapes  or  forms  in 
space.  Gestures  which  describe  straight  lines  or  forms  are 
said  to  be  vital;  those  taking  a  circular  form  are  emotional; 
while  gestures  marking  broken  outlines  are  mental. 

The  Law  of  Personality  is  that  which  marks  a  man's  in- 
dividuality and  distinguishes  him  from  other  men.  Per- 
sonality is  the  result  of  heredity  and  culture.  \Vc  work 
upon  the  material  received  at  birth  from  our  ancestors, 
striving  to  efface  or  emphasize  its  peculiarities  accordingly 
as  they  are  advantageous  or  detrimental  to  us ;  the  result 
at  manhood,  colored  b}-  experience,  is  personality.  It  is 
that  by  which  we  recognize  a  friend  b}-  his  walk,  a  mother 
by  the  inflections  of  her  voice  as  she  speaks  to  her  child, 
the  words  of  a  favorite  author  by  the  style  of  the  com- 
position. 

Delsarte's  Law  of  Opposition:  "When  two  limbs  follow 
the  same  direction,  they  cannot  be  simultaneous  without 
injury  to  the  law  of  opposition ;  therefore  direct  move- 
ments should  be  successive  and  opposite  movements  sim- 
ultaneous." The  law  of  opposition  in  gesture  has  for  its 
mechanical   or   physical    basis    the   laws  of  equilibrium    and 


^6  An  Hour  with  Delsarte 

gravity.  A  vertical  line  directly  through  the  body  stand- 
ing erect  and  perfectly  poised  will  mark  the  centre  of 
gravity.  Any  departure  of  the  body  from  this  right  line 
in  any  direction  must  be  compensated  for  by  an  equal 
portion  of  the  body  in  the  opposite  direction,  else  equi- 
librium cannot  be  maintained.  Equilibrium  is  one  of  the 
elements  of  physical  grace;  and  while  there  may  be  equi- 
librium without  grace,  there  can  be  no  grace  without 
equilibrium ;  so,  in  gesturing,  this  law  of  compensation  or 
balance  must  be  preserved  in  the  interests  of  grace.  A 
gesture  b}'  one  member  of  the  body  demands  a  compen- 
sating gesture  by  another  member  in  opposition. 

If  we  gesture  with  the  arm,  the  head  moves  in  opposi- 
tion. If  we  step  forward,  the  head  follows  the  limb;  the 
body  being  equal  to  the  head  and  limb  opposes  them  in 
compensation. 

The  Law  of  Priority  or  Sequence  of  gesture  is  the  order 
of  succession  in  which  the  agents  of  expression  act.  "  Im- 
pression always  precedes  expression ;  we  must  have  before 
we  can  give,  and  give  in  the  order  of  having," — which  is 
equivalent  to  saying,  We  must  have  an  idea  before  we  can 
express  one. 

Generally  speaking,  the  vital  nature  first  asserts  itself 
in  gesture,  then  follows  the  emotional  nature,  and  the 
mental    nature    is  last  to  act;    but,  as    Delsarte    says,  "The 


Nine  Laius  of  Gesture  57 

will  lends  itself  to  whichexer  side  of  the  bciiif^  is  in  action," 
and   that  side   will    lead    the   sequence   in   gesture. 

In  the  order  of  priorit}-  the  eye  reveals  impressions  first, 
next  the  face  responds,  then  the  hand  and  other  members 
of  the   body,  and,   lastly,    articulate  s[)eech. 

Delsarte  is  reported  to  have  said  that  "  Rhythm  is  the 
vibration  or  swing  of  matter  through  equal  spaces  and  in 
equal  times."  It  is  the  regular  pulsation  or  beat  of  mo- 
tion corresponding  to  the  throb  or  wave  of  emotion  ;  mo- 
tion is  rhythmic  just  as  waxes  arc  undulating;  it  is  the 
character  or  shape  of  motion.  In  speech  it  is  the  succes- 
sive rise  and  fall  of  the  voice,  as  in  the  modulation  and 
the  cadence  of  the  tones  in  reading.  In  gesture  it  is  the 
consecutive  inflections  of  the  limbs  from  joint  to  joint  in 
the  movements  of  the  bod}'. 


A  71  Hour  with  Dclsarte 


XI. 

GESTURE. 

GESTURE  is  the  immediate  revelation  of  the  being. 
The  most  evanescent  flashes  of  thought  and  tem- 
perament are  first  and  immediately  revealed  in  gesture. 
The  quality  of  his  gesture  is  the  quality  of  the  individual, 
and  the  touchstone  to  the  character  of  the  man.  His 
speech  can  be  attuned  to  the  occasion  ;  but  he  betrays  him- 
self in  the  quick  surprises  of  involuntary  gesture,  —  in  the 
sudden  tremor  of  the  lip,  the  startled  turn  of  the  head,  the 
dropping  of  the  jaw,  the  spasmodic  clutch  of  the  hand, 
the  blush  and  pallor  of  the  cheeks,  and  the  flashing  and 
quailing  of  that  sensitive  mirror,  the  eye.  And  apropos 
of  the  sudden  flushing  and  paling  of  the  cheeks,  the  French 
philosopher,  Descartes,  observes  that  while  the  will  may 
have  some  control  over  the  muscles,  it  has  none  over  the 
blood. 

Gesture  is  the  language  of  nature,  and  is  comprehensible 
to  people  of  every  tongue ;  whereas  their  different  forms 
of  speech  must  be  laboriously  learned  before  they  can  be 
employed  or  understood.     The  most  pacific  overtures,  when 


W     4^ 


Gesture  59 

couched  in  words,  mif^^ht  be  niisintcrprctcd  by  a  forcij^ncr. 
but  a  conciliatory  movement  of  tlic  hand  is  rcadil\-  appre- 
ciated by  any  race  or  condition  of  men. 

The  character  or  type  of  the  gestures  of  different  races 
varies  according  to  the  temperaments  of  the  people,  but 
the  nature  or  essence  of  gesture  is  ever\'\vhere  the  same; 
thus,  the  warm-blooded  races  of  Southern  luirope  and  Asia 
make  quick,  impulsive  gestures,  in  keeping  with  the  acti\'it\- 
of  their  temperaments  but  among  the  phlegmatic  peoples 
of  the  North,  the  gestures  are  more  deliberate  and  less 
volatile  in  kind.  With  the  Anglo-Saxon  races,  on  the  other 
hand,  where  a  greater  evenness  of  temperament  prevails, 
the  gestures  are  an  equable  blending  of  the  other  two;  and 
all  the  many  classes  of  men,  with  their  infinite  ili\ersit\' 
of  characteristic  movements,  arc  but  variations  of  these  fun- 
damental t}pes.  Hence,  different  men  express  the  same 
idea,  thought,  sentiment,  or  passion  differentl}',  the  manner 
of  each  being  modified  b\-  experience,  habit,  disposition, 
etc.  But  all  men  ha\e  the  same  general  attributes,  tlistin- 
guishable  b\-  the  special  peculiarities  of  each  ;  so  it  follows 
that  certain  gestures  are  common  to  all  men  to  express 
particular  emotions,  colored  only  b)-  the  indi\idualit\-  of 
the  person. 

For  example,  profound  grief  will  give  to  every  face  a 
melanchoh-    or   lutjubrious    effect  ;     hut    a    grief    that    would 


6o  Ail  Hour  with  Delsarte 

awaken  in  one  person  a  perfect  agony  of  woe,  would  be 
expressed  in  a  more  self-contained  nature  by  an  occasional 
sigh  and  a  heavy  look  in  the  eye,  though  the  degree  of 
grief  were  the  same  in  each  case.  In  the  same  way,  a  feel- 
ing of  great  surprise  is  shown  in  every  face  by  an  expansion 
of  feature,  accompanied  by  a  staring  look  in  the  eyes ;  but 
a  surprise  that  would  have  no  more  effect  on  some  people 
than  to  cause  a  slight  lifting  of  the  eyebrows,  would  pro- 
voke in  others  a  violent  start,  throwing  up  of  both  hands, 
and  a  settled  gape,  amounting  in  appearance  almost  to  con- 
sternation ;  yet  the  surprise  may  be  no  more  sincerely  felt 
in  the  one  case  than  in  the  other.  But  it  is  through  these 
forms  of  action  or  gesture  that  we  learn  the  secrets  of 
another's  nature. 

Of  him  who  has  such  perfect  control  of  himself  that  he 
makes  little  or  no  demonstration  over  a  circumstance  which 
excites  another  to  much  show  of  feeling,  we  say  that  he  is 
a  man  of  the  world  and  has  experienced  much,  or  that  his 
nature  is  cold  and  unresponsive,  or  that  he  is  hypocritical 
and  masks  his  true  feelings  for  his  own  ends,  or  that  he 
is  cultivated  and  politely  suppresses  them ;  forming  our 
own  judgment  each  time  not  upon  this  circumstance  alone, 
but  considered  in  connection  with  other  facts  similarly  ob- 
tained ;  and  by  this  subtile  reasoning  we  arrive  at  an  estimate 
of   character.     It   is  the  complex   nature   which    makes    the 


Gesture  6 1 

least  show  of  feeling,  and  the  simple  one  which  is  the  most 
demonstrative. 

All  gesture  may  be  classified  conformably  with  its  source 
as  subjective  and  objective :  it  may  be  called  objective 
when  it  refers  to  and  arises  from  external  causes  or  con- 
ditions; it  may  be  called  subjective  when  it  is  the  direct 
expression  of  a  purely  subjective  or  mental  operation.  The 
simple  gesture  made  in  pointing  out  a  familiar  object  in  a 
miscellaneous  collection  is  objecti\'e,  because  it  arises  from 
an  external  cause;  but  the  involuntary  action  of  raising  the 
hand  to  the  brow  in  an  effort  of  the  memory  is  subjective, 
because  it  is  a  reflection  of  some  state  of  the  mind. 

Gestures  of  the  objective  class  are  more  frequently  seen 
in  children  than  those  of  the  subjective  kind,  because  the 
mind  of  childhood  is  more  susceptible  of  impressions  from 
without;  and  it  is  not  until  the  exercise  of  the  faculties  of 
reasoning,  judgment,  etc.,  begins  that  certain  crude,  subjec- 
tive gestures  are  seen,  betokening  the  immaturit\-  of  these 
qualities.  As  these  functions  become  fixed,  however,  and 
their  true  value  determined,  the  revelatory  gestures  take 
on  a  riper  fitness  and  a  settled  precision  of  form  in  per- 
fect keeping  with  the  now  advanced  development  of  the 
mind. 

Who   is   not  familiar  with   the   comical   grimaces   and  ab 
surd  antics   of   a   child   when   called    upon   to   unravel   somi 


62  An  Hour  with  Delsarte 

tangled  mental  knot?  But  in  maturer  years  this  same  child 
will  reveal  a  proportionately  difficult  mental  encounter  with 
perhaps  a  drawing  together  of  the  brows,  a  pursing  of 
the  lips,  a  tapping  of  the  fingers,  or  by  some  equally  mild 
form  of  gesture,  betraying  the  working  of  the  practised 
intellect  accustomed  to  this  kind  of  mental  gymnastics. 

Through  these  illustrations  it  is  the  purpose  to  bring 
forcibly  home  to  the  learner  the  manifest  absurdity  of  pre- 
scribing fixed  gestures  to  express  particular  ideas,  than 
which  no  more  ridiculous  notion  has  ever  prevailed,  even 
in  connection  with  this  ludicrously  treated  study.  Our 
minds  are  as  different  as  our  faces ;  we  do  not  think  alike 
nor  talk  alike;  then  why  should  we  act  or  walk  alike?  No 
two  of  us  are  exactly  alike  in  any  particular;  then,  in  just 
so  much  as  we  are  unlike,  the  difference  should  appear  in 
all  we  do. 

A  girl  of  fifteen  will  not  express  herself  in  anything  like 
a  man  of  fifty;  nor  will  any  two  girls  of  fifteen,  or  men 
of  fifty,  express  the  same  ideas,  using  precisely  the  same 
words,  gestures,  or  facial  expression ;  each  will  show  his 
difference  of  temperament,  habit,  disposition,  heredity,  and 
experience  from  those  of  each  of  the  others,  and  these  and 
other  differences  of  character  will  color  all  he  does. 

All  gesture,  to  be  natural,  must  be  unconscious,  or  seem 
to  be  so ;    the   reason    that   studied   gestures   are  often  stiff, 


Gesture  63 

embarrassed,  and  sell-conscious  is  that  they  liavc  not  been 
sufficiently  studied.     Says  Pope:  — 

"  A  little  learning  is  a  dangerous  thing; 
Drink  deep,  or  taste  not  the  Pierian  spring." 

So  a  little  jaunt  into  the  realms  of  expression  only  serves 
to  show  the  learner  what  he  lacks,  without  putting  him 
into  possession  of  it ;  there  must  be  no  half-heartedness 
about  his  efforts,  he  must  plunge  boldly  into  the  stream 
and  ford  it  to  the  source.  So  thoroughly  must  he  be  im- 
bued with  the  subject  that  he  will  seem  to  have  appropri- 
ated it  to  himself,  —  made  it,  in  fact,  second  nature.  Then 
all  self-consciousness  will  disappear,  per  force  of  circum- 
stances. For  the  special  study  of  gesture  the  student  is 
referred  to  Bacon's  "Manual  of  Gestures,"  which  is  a  most 
admirable  simplification  of  Au.stin's  "  Chironomia,"  the  most 
important  work  as  yet  produced  on  the  subject  of  gesture. 


64  An  Hour  with  Delsarte 


XII. 

THE    VOICE.— READING. 

T~AELSARTE  classifies  the  voice,  as  he  does  the  other 
^^^  agents  of  expression,  into  three  divisions,  each 
corresponding  to  one  of  the  three  states  of  the  being. 
Accordingly  the  voice,  the  mere  sound,  is  vital ;  modu- 
lated sound,  or  tone,  is  emotive ;  and  articulate  speech  is 
mental. 

Again,  the  pitch  of  the  voice  is  suggestive  of  these  three 
states  of  the  being.  In  this  classification  Delsarte  defines 
the  chest  voice  as  the  expression  of  the  vital  or  sensitive 
life,  the  medium  voice  as  the  expression  of  sentiment  and 
the  emotive  nature,  and  the  head  voice  as  the  correspond- 
ence of  the  mental  side  of  the  being. 

The  head  voice  is  used  in  expressing  purely  mental 
conditions,  like  the  inward  gestures ;  and  the  medium  or 
middle  voice  is  expressive  of  emotional  conditions,  like 
those  gestures  which  are  neither  outward  nor  inward,  but 
serve  as  the  poise  or  balance  between  the  two. 

These  distinctions  are  by  no  means  definitive ;  but  as  in 
the  divisions   of  the  other   agents,   the  vital  or  chest   voice 


too  Ufe 


U^^   OF  THB      '^>^ 


uir 


IVBR 

OB" 


SI 


The  Voice.  —  Reading  65 

is  invaded,  and  in  turn  invades  tlie  emotive  or  middle  voice, 
and  the  same  witii  the   head  or   mental   voice. 

By  this  blendinij  and  merging  of  the  basal  divisions  the 
same  complexity  is  observable  in  voice  as  in  the  case  of 
i^esture.  As  there  is  little  or  no  variation  in  the  cry  of 
the  animal,  so  there  is  not  much  in  the  tones  of  elemen- 
tary or  savage  natures  among  men ;  and  flexibility  of  the 
voice  is  never  found  disassociated  with  intelligence,  because 
it  is  the  external  sign  of  intellectualit)-. 

The  head  tone,  or  high  voice,  is  heard  in  the  weighing  and 
balancing  of  mental  problems.  The  head  voice  reaches  its 
highest  state  of  pliancy  among  the  most  enlightened  peoples. 

The  chest  voice  is  heard  when  the  animal  side  of  our 
nature  is  dominant;  in  the  vital  passions, —  hate,  anger,  etc., 
—  if  the  physical  nature  overbalances  the  mental,  the  chest 
voice  is  more  frequently  employed  than  cither  of  the  others, 
the  head  voice  being  often  \xMy  weak. 

The  medium  voice  is  heard  when  neither  the  mental  nor 
the  vital  side  of  the  being  is  predominant,  or  when  some 
condition  of  the  emotive  nature  is  poised.  "  Ever\'  state 
of  the  mind,"  says  Dr.  Rush,  "  has  its  corresponding  vocal 
signs  in  some  of  the  varied  forms  of  pitch,  force,  time,  and 
quality;"  and  the  slightest  inflection  of  the  voice  has  its 
corresponding  mental  equivalent,  just  as  the  inflections  of 
gesture  have. 


66  An  Hour  with  Delsarte 

The  importance  of  the  voice  as  an  agent  of  expression 
depends,  as  in  the  case  of  the  other  agents,  upon  the  de- 
gree of  its  flexible  strength  and  the  readiness  with  which 
it  accommodates  itself  to  the  passing  phases  of  thought 
and  feeling ;  hence  the  necessity  for  cultivating  the  voice 
to  its  greatest  pliancy  of  modulation. 

It  is  not  the  purpose  here  to  enter  upon  a  discussion 
of  the  voice  in  any  particular  sense ;  as  the  subject  is  of 
too  much  moment,  if  it  were  not  too  extensive,  to  admit 
of  anything  but  the  most  general  treatment.  For  a  more 
thorough  investigation  the  student  is  recommended  to  a 
careful  study  of  Dr.  James  Rush's  exhaustive  consideration 
of  the  subject  in  his  "  Philosophy  of  the  Human  Voice." 
But  it  is  possible,  even  in  the  space  of  a  brief  chapter, 
to  throw  out  suggestions  which  may  awaken  the  learner 
to  the  importance  of  the  subject  and  to  the  necessity  for 
an  understanding  of  the  organs  which  are  concerned  in 
the  production  of  voice  if  he  would  make  intelligent  use 
of  his  vocal  powers. 

For  example,  the  well-known  resemblance  in  the  ph}^sio- 
logical  formation  of  the  organs  of  speech  to  the  principle 
upon  which  wind  instruments  of  music  are  constructed  is 
of  service  to  the  student  in  helping  him  to  understand  the 
process  of  voice  production. 

The  lungs  and  diaphragm  may  be  likened  to  the  bellows 


The  Voice.  —  Readmg  67 

or  pumping  power  of  a  church  organ ;  the  windpipe 
stands  for  the  pipes  and  tubes,  and  the  larynx  for  the 
reeds.  In  the  production  of  voice  the  huigs  furnish  the 
motor  element,  the  lar}'nx  the  vibrating  element,  and 
the  mouth  the  resonant  element,  and  these  three  elements 
are  essential  to  the  creation  of  all  sound. 

Primarily,  the  correct  use  of  the  voice  is  dependent  on 
the  proper  exercise  of  these  organs,  a  free  and  unforced 
habit  of  inspiration,  and  a  sustained  power  of  expiration  in 
the  management  of  the  breath,  together  with  a  clear  and  dis- 
tinct enunciation,  without  too  great  preciseness  of  articu- 
lation. The  distinguished  public  reader  and  instructor,  Mr. 
George  Riddle,  assures  us  that  he  never  gives  his  pupils 
breathing  exercises  at  the  outset  of  their  studies,  as  their 
value  is  not  at  first  understood.  If  his  pupils  arc  unable 
to  breathe  properly  he  gi\cs  them  the  Ghost  Scene  from 
Hamlet  to  read ;  and  the  futilit}'  of  attempting  the  grave, 
round  periods  of  the  ghost's  speeches  without  diaphragmatic 
breathing  strikes  the  learner  at  once,  and  the  necessity  for 
breathing  lessons  is  clearl)'  established. 

Good  reading  is  a  recommendation,  just  as  good  man- 
ners are  a  passport ;  and  there  is  never  a  time  when  the 
lack  of  the  one  or  the  other  ma\-  not  throw  the  decision 
against  us  in  some  project  on  which  we  have  set  our  hopes. 


68  An  Hour  with  Delsarte 

Of  course  the  first  essential  in  a  reader,  from  an  objective 
standpoint,  is  the  command  of  his  voice  in  order  that  he 
may  be  able  to  meet  the  demands  made  upon  it  in  a 
lengthy  vocal  effort ;  and  in  these  days  of  frequent  gath- 
erings, public  and  private,  scarcely  any  one  may  feel  him- 
self secure  in  being  unprepared  for  an  occasion  when  his 
shortcomings  in  this  respect  may  prove  a  source  of  mor- 
tification and  annoyance. 

How  pathetic  sometimes  is  the  spectacle  of  the  person, 
unaccustomed  to  "  that  sort  of  thing,"  who  is  suddenly 
called  upon  to  read  or  speak  in  public !  Who  will  forget 
the  picture  of  his  constrained  and  timid  manner,  or  the 
effect  of  his  weak  voice  and  monotonous  tones  addressed 
to  a  friendly  face  in  the  front  row,  leaving  the  rest  of  the 
house  in  painful  uncertainty  as  to  what  it  was  all  about ! 
Or,  on  the  other  hand,  how  absurd  was  the  way  he  shouted 
to  cover  up  his  embarrassment ! 

By  the  pompous  professor  we  are  told  that  all  we  have 
to  do  in  order  to  read  well  is  to  be  natural ;  but  what  is 
more  natural,  if  the  reader  has  any  sensibility,  than  that 
he  should  appear  unnatural  before  an  audience  at  first? 
It  is  his  very  fidelity  to  nature  that  causes  the  mischief. 
It  is  not  until  he  has  learned  to  quell  or  subjugate  cer- 
tain natural  instincts,  which  rob  him  for  the  time  of  his 
powers,    that    he     is    able    to     present    the     appearance    of 


TJiL    Voice.       Readmit  69 

spontancit}'  and  naturalness.  For  example,  timidity  de- 
prives him  of  self-possession,  and  he  appears  stajjid  when 
he    is  only  frightened. 

Ignorance  of  the  quality  of  his  voice  causes  him  to  mis- 
judge its  strength;  it  fails  him,  and  thus  ruins  an  effort 
for  which,  in  other  respects,  he  may  ha\e  been  thoroughly 
equipped.  And  so,  in  a  hundred  ways,  he  must  cast  him- 
self into  the  relentless  school  of  experience  unless  fortified 
by  previous  preparatory  study. 


no  A 71  Hour  luith  Dclsarte 


XIII. 

TEACHERS— EXERCISES  FOR  PRACTICE. 

'T~^HAT  "  poets  are  born,  not  made  "  is  not  a  whit  more 
certain  than  that  teachers  should  be ;  but,  alas !  too 
many  are  manufactured  after  they  are  born.  The  calling 
of  the  instructor  is  a  special  vocation,  requiring  a  specific 
fitness  equal  in  degree  to  that  of  the  artist  or  the  orator, 
and  the  professor  of  the  inculcatory  art  must  be  as 
truly  called  to  his  work  and  must  enter  upon  it  with  as 
much  heart-felt  devotion  as  does  the  professor  of  any  other 
art. 

The  representative  of  any  craft  who  finds  more  drudgery 
than  pleasure  in  its  practice  may  feel  assured,  other  things 
being  equal,  that  he  is  out  of  his  proper  sphere ;  and  he 
is  no  true  teacher  who  does  not  find  his  tutorship  an  ever- 
changing  source  of  delight. 

Droning  out  laboriously  acquired  knowledge  by  the  hour 
to  foggy-minded  youth  is  but  dull  work  truly ;  and  if  that 
were  the  end  of  the  teacher's  occupation  one  could  readily 
sympathize  with  the  plaint  of  the  country  pedagogue,  who 


I  woncferir  he 
loves  her_rnucK 


>*'  OF  THE 

[TJITI7ER; 


Teachers.  —  Exercises  for  V vac t ice  71 

kept  school  only  because  school  kept  him.  But  to  the 
genuine  preceptor  the  task  of  implanting  the  seeds  of 
knowledge  and  seeing  them  fructify  is  a  boon  beside  which 
all  material  recompense  seems  poor.  He  teaches  because 
he  loves  to  teach ;  he  revels  in  his  work.  It  is  a  joy  to 
him  to  make  his  thought  )'our  thought. 

It  is  his  mission  to  diffuse  knowledge.  He  loves  to  watch 
the  play  of  the  unfledged  fancy  as  it  plumes  its  wings  for 
intellectual  flight.  He  carefull}'  studies  his  pupil  and  notes 
his  peculiarities,  and  then  adapts  his  discourse  and  his  dis- 
cipline to  suit  the  temperament  and  disposition  of  his 
charge.  He  checks  the  froward  and  inspires  the  timid, 
and  the  industrious  he  rewards,  but  to  each  and  all  he 
is  impartially  and  uncompromisingly  honest  and  sincere; 
for  this,  he  knows,  is  the  greatest  justice,  the  greatest 
charity,  and  the  greatest  kindness. 

This  master  is  broad  in  his  own  views  and  tolerant  of 
the  views  of  others.  Whatever  his  private  opinions  may 
be,  he  does  not  allow  them  to  prejudice  his  consideration 
of  the  opinion  of  others ;  and  thus  his  information  is  ever 
unbiassed  and  therefore  reliable.  He  has  a  system  in  his 
work,  but  it  is  a  liberal  system,  and  enables  him,  without 
trespassing,  to  cull  from  every  field  the  choicest  fruits  of 
thought;  thus  he  is  progressive,  and  his  labors  are  ever 
brightened  by  the  unfolding  of  new  possibilities. 


72  All  Hour  with  Delsarte 

We  have  already  stated  that  we  have  httle  faith  in  the 
efficacy  of  printed  directions  for  guidance  in  the  practice 
of  exercises,  because  they  are  almost  invariably  misinter- 
preted and  misused  by  the  student.  A  living  interpreter 
is  required  to  expound  the  principles  upon  which  they  are 
based,  in  order  that  extravagance  in  their  use  may  be 
avoided,  on  the  one  hand,  and  that  they  may  not  fail  of 
their  purpose  through  a  want  of  thoroughness  in  their 
application,  on  the  other.  Still,  as  this  book  would  be 
incomplete  without  some  reference  to  the  character  and 
quality  of  these  exercises,  the  writer  desires  to  outline  the 
course  which  she  has  found  most  serviceable  in  her  own 
practice.  They  are  presented  more  with  a  view  of  sug- 
gesting the  various  forms  of  gymnastic  drill,  than  with 
any  intention  of  enumerating  the  exercises  possible  under 
the  system,  which  may  be  extended  indefinitely,  according 
to  the  ingenuity  of  the  instructor. 

1.  Examine  pupils  individually,  and  point  out  faulty  habits 
of  carriage  and  bearing;  suggest  corrections  by  reference  to 
illustrations  in  the  second  chapter. 

2.  Consider  the  carriage  of  each  in  his  walk,  and  point 
out  inelegancies  and  other  defects,  such,  for  example,  as 
the  fault  of  walking  with  a  bobbing  movement  of  the  body, 
wabbling  from  side  to  side,  or  carrying  the  feet  with  the 
toes    pointing    inward,    etc.      Do    not    attempt    any    radical 


jW^^  poor  <soai 


wrKsvt  an 


>*^  OP  THB^^ 


Teachers.  —  Exercises  for  Practice  73 

alteration   of    natural    tendencies  which    arc   inherent  in  and 
characteristic  of  the  individuals.  , 

A  Greek  writer  has  declared  that  "  a  man's  mind  is  in 
his  walk."  Gracefulness  in  walking  requires  that  the  body 
be  carried  erect  without  stiffness,  that  the  leijs  swinij  easily 
from  the  hip-joints,  and  that  the  toes  be  turned  slightly 
outward  and  carried  on  a  level  with  the  whole  foot.  In 
turning  to  retrace  one's  steps,  or  in  making  short  turns, 
one  should  pivot  lightly  on  the  balls  of  the  feet,  not  take 
three  or  four  steps  in  a  half  circle,   as  man)-  do. 

The  bearing  and  carriage  of  the  bod)'  having  been  con- 
sidered in  this  general  way,  we  proceed  to  examine  the 
members  of  the  body  in  detail,  beginning  with  the  hand. 
Extend  your  arms  forward  with  the  palms  down  or  prone, 
energize  and  move  stiffly  up  and  down ;  now  surrender 
the  hands  at  the  wrist,  shake  them  as  before.  The  object 
is  to  take  the  mind  out  of  the  hands,  to  let  the  effort  of 
the  will  cease  at  the  wrists.  The  sensation  of  freedom  or 
flexibility  is  obtained  by  repeatedly  energizing  the  hand 
and  then  relaxing  or  surrendering  it.  Now,  shake  the  hantls 
laterally  from  side  to  side ;  forget  them,  let  them  go ; 
remember  that  you  have  arms,  but  no  hands,  for  the  time 
being.  Now  turn  the  hands  with  the  palms  facing  each 
other,  give  them  up  as  before,  and  shake  them  back  and 
forth,   letting    the    energy  cease  at   the   wrist.     Now.   repeat 


74  ^f^  Hour  with  Delsarte 

the  movement  with  the  palms  upward ;  imagine  that  you 
are  shaking  drops  of  water  from  the  tips  of  your  fingers. 
Now,  the  rotary  movement;  turn  the  hand  round  and  round 
from  right  to  left;  now,  reverse  the  movement  and  turn 
them  from  left  to  right.  Next,  hold  the  hands  facing  each 
other,  the  sides  downward,  and  shake  them  freely  as  you 
would  in  a  gesture  of  threatening.  Next,  rest  your  fore- 
arm on  the  arm  of  your  chair;  now  cut  the  energy  off  at 
the  wrist.  We  must  obtain  perfect  flexibility  of  this  agent, 
which  in  some  people  extends  to  the  fingers,  giving  them 
the  same  freedom  as  at  the  wrist. 

These  movements  we  call  flexing  or  freeing  exercises, 
because  they  render  flexible  or  supple  the  agent  thus 
treated,  and  free  it  from  the  bias  of  customary  forms  of 
action.  By  this  means  the  way  is  opened  for  the  intro- 
duction of  unaccustomed  forms. 

From  the  hands  we  proceed  step  by  step  to  each  divi- 
sion of  the  limbs  and  body,  subjecting  each  to  this  freeing 
and  flexing  process,  until  the  entire  body  becomes  readily 
responsive  to  the  slightest  calls  of  the  will. 

Raise  the  arms  and  extend  them  laterally  with  the  mo- 
tion made  in  swimming.  Free  the  fore-arms,  letting  the 
energy  cease  at  the  elbow;  with  the  arms  in  this  position 
agitate  the  upper  arm  up  and  down,  forward  and  backward, 
and   rotarily,  or  with  a  rotary  motion,  letting  the   fore-arm 


Teachers.  -  -  Exercises  for  Practice  75 

swing  as  if  dead.  This  exercise  frees  the  arms  from  the 
elbows  down,  and  ijives  flexibility  and  suppleness  to  the 
muscles  of  the  upper  arm. 

Standing  in  a  position  of  perfect  case,  allow  the  arms  to 
hang  naturally  at  the  sides ;  now,  energize  or  stitTen  the 
arms  and  bring  them  slowl}'  together  with  the  backs  of  the 
hands  meeting  just  before  the  hips  at  the  lowest  altitude; 
holding  them  thus  for  an  instant,  relax  and  let  them  fall 
back  to  their  usual  position.  Again,  energize  the  arms 
and  carr}'  them  forward  and  upward,  holding  them  ex- 
tended at  full  length  tu  a  horizontal  position  before  the 
chest;  relax  and  let  them  fall  into  place  as  before.  Re- 
peat the  movement,  carr)-ing  the  arms  this  time  to  a  po- 
sition just  abo\'e  or  on  a  level  with  the  eyes ;  relax  as 
before,  letting  them  drop  lifelessly  into  place. 

Again,  stiffen  the  arms  to  a  rigid  tension,  and  holding 
them  at  full  length,  carry  them  up  sidewise  until  they 
meet,  the  backs  of  the  hands  together,  directly  o\-er  the 
head.  Agitate  the  hands  as  in  the  preceding  exercises 
for  the  hands,  relax  and  drop  them.  Again  this  mo\-e- 
ment,  carrying  the  arms  above  the  head,  but  as  far  back 
as  possible,  and  finall}'  relax  and  allow  them  to  fall  into 
place. 

Standing  in  the  same  position,  clewite  the  shoulders  as 
much   as   possible ;    relax   them,   and   allowing    the   arms   to 


76  All  Hour  with  Delsarte 

hang  lifelessly,  freely  agitate  the  rest  of  the  body.  Carry 
the  shoulders  forward  as  much  as  possible,  neither  raising 
nor  depressing  them ;  relax  them,  and  agitate  the  body 
as  before.  Depress  or  slightly  droop  the  shoulders,  then 
slowly  carry  them  backward  and  upward,  and  finally  down- 
ward, expanding  the  chest  to  its  fullest  extent;  relax  and 
agitate  the  body  as  before.  Rotate  the  shoulders  forward 
several  times,  then  backward ;  then  swing  the  arms  round 
and  round,  letting  them  revolve   in  their  sockets. 

These  exercises,  besides  freeing  the  muscles  of  the  chest 
and  shoulders  and  relieving  them  of  stiffness  and  angu- 
larity, will,  if  perseveringly  practised,  materially  expand 
and  enlarge  the  chest,  thus  promoting  the  healthy  action 
of  the  lungs. 

Sitting,  holding  the  head  in  its  normal  position  midway 
between  the  shoulders,  neither  raised  nor  depressed,  allow 
it  gradually  to  droop  forward  until  it  loses  balance  and 
falls  inertly  upon  the  chest.  Returning  it  to  its  normal 
position,  allow  it  to  droop  backward  until  it  falls  upon  the 
neck.  Returning  again  to  normal  poise,  allow  the  head 
to  fall  first  to  the  right,  then,  repeating  the  movement,  let 
it  fall  to  the  left.  Now,  with  a  rotary  motion  allow  the 
head  to  roll  freely  on  the  shoulders,  first  to  the  right,  then, 
reversing,  let  it  roll  to  the  left.  The  object  of  these  ex- 
ercises,  it  will   be  readily   seen,    is   to  give  perfect  freedom 


Teachers.  —  Exercises  for  Practice  7  7 

to  the  movements  of  the  head  by  imparting  flcxibihty  to 
the  muscles  of  the  neck ;  this  object  is  not  fairly  accom- 
plished until  you  are  able  to  simulate  through  the  head 
the  passive  pliancy  of  one  in  a  dead  faint  or  in  a  state  of 
unconsciousness. 

Sitting  erect  in  your  chair,  allow  the  head  and  shoulders 
to  droop  forward,  breaking  the  trunk  at  the  first  joint  of 
the  chest,  but  holding  the  waist  rigid.  Beginning  in  the 
same  position  again,  allow  the  head  to  fall  backward, 
drawing  the  shoulders  with  it,  but  maintaining  rigidity  of 
the  waist  as  before. 

Again,  droop  the  head  to  the  right,  allowing  it  to  ele- 
vate the  left  and  depress  the  right  shoulder  by  the  force 
of  its  own  weight,  still  holding  the  waist  immovable ;  repeat 
the  movement  to  the  left;  now,  turn  the  head  and  shoulders 
round  with  a  rotary  motion  which  alternately  raises  and 
depresses  the  shoulders  as  they  follow  the  movement  of 
the  head.  Still  sitting  erect,  rotate  the  upper  body  on  the 
hip  joints,  letting  the  motion  flow  sinuousl}-  through  the 
joints  of  the  spine  and  ribs;  reverse  the  action,  turning 
in  the  opposite  direction. 

Rise  in  your  places,  and  standing  at  perfect  ease,  allow 
the  upper  body  to  fall  lifelessly  forward,  arresting  the  ac- 
tion at  the  waist  line ;  repeat  the  action,  falling  backward ; 
again,  fallinfr  to  the  riijht  and  then   to  the  left. 


73  An  Hour  with  Delsarte 

Now,  letting  the  upper  body  fall  forward,  arresting  the 
action  at  the  waist  line  as  before,  rotate  the  inert  trunk  to 
the  right  by  means  of  the  hip  joints  and  muscles ;  reverse 
the  movement,  turning  to  the  left. 

Resume  your  seats,  and  lifting  the  right  foot  from  the 
floor,  ao-itate  it  freely,  as  in  the  exercises  for  the  hand ; 
rotate  the  foot  at  the  ankle  to  the  right  and  to  the  left; 
repeat  this  exercise  with  the  left  foot. 

Again,  standing  up,  agitate  the  right  leg  from  the  knee, 
as  in  the  exercises  for  the  arm ;  now  with  a  rotary  motion 
to  the  right,  and  reversing  to  the  left.  Throw  the  limb 
forward,  imitating  the  pawing  of  the  horse ;  repeat  these 
with  the  left  foot  and  leg. 

Standing  on  some  elevated  position,  —  a  footstool,  or  on 
the  edge  of  a  step  or  platform,  —  swing  the  whole  leg  loosely 
from  the  hip  joint;  in  lieu  of  the  rotary  motion,  which  is 
impossible,  throw  the  right  leg  about  the  left,  letting  it 
dangle  loosely  from  the  hip ;  repeat  this  exercise  with  the 
left  leg. 

Allow  the  eyelids  to  fall  and  lower  jaw  to  drop. 

Having  freed  the  various  joints  and  hinges  of  the  body 
from  their  enclosures  of  stiffness  and  angularity,  and  given 
flexibility  to  the  muscles  at  the  same  time,  let  us  now  turn 
our  attention  to  building  up  those  muscles  which  from  dis- 
use or  bodily  ailment  have  become  weakened,  and  observe 


ZC^*'   OP  THE 

TJHIVEE3IT71 


GV 


'd^'iFm 


Teachers.  —  Exercises  J  or  rracticc  79 

that  by  taking  up  the  work  of  strengthening  the  bod>-  in 
this  order,  after  the  freeing  and  flexing  process  rather  than 
before,  we  avoid  emphasizing  and  confirming,  as  it  were, 
the  faults  which  we  have  just  been  at  so  much  pains  to 
o\"ercome. 

Stand  with  the  heels  together,  the  toes  pointing  at  right 
angles,  and  rise  slowl)-  and  steadil)-  on  the  toes  to  the 
highest  point  attainable  with  an  even  balance,  and  down  in 
the  same  manner,  repeating  the  exercise  until  the  move- 
ment can  be  accomplished  almost  imperceptibly.  Next, 
pivot  on  the  balls  of  the  feet  from  right  to  left,  reverse 
and  repeat  over  and  over  several  times. 

With  the  feet  in  the  same  position,  keeping  the  body 
erect,  bend  the  knees  as  far  as  possible  without  lifting  the 
heels  from  the  floor  or  losing  the  balance.  To  give  elas- 
ticity to  the  lower  limbs,  stand  in  position,  the  heels  a  few 
inches  apart,  the  toes  pointing  outward  at  right  angles, 
with  a  springy,  dancing  movement  of  the  bod)',  take  a  step 
forward  and  back  to  place,  first  with  the  right  foot,  then 
with  the  left,  springing  slightly  on  the  balls  of  the  feet  as 
in  waltzing  and  marking  time  rhythmicallx'.  —  one,  two,  for- 
ward and  back  to  place  on  the  right  foot;  three,  four, 
forward  and  back  to  place  on  the  left;  repeating  the 
movement  backwards,  —  one,  two,  backward  and  forward 
to   place  on  the   right  foot  ;  three,  four,  backward  and   for- 


So  An  Hour  with  Dels  arte 

ward  to  place  on  the  left  foot;  continue  the  movement  to 
the  right  and  to  the  left,  pointing  the  toes  of  the  foot  on 
which  the  step  is  taken  obliquely  from  the  body,  and 
marking   time   as   before. 

Although  Delsarte  made  the  study  of  the  human  voice 
his  chiefest  concern,  the  loss  of  his  own  voice  having 
quickened  his  perception  in  respect  to  that  organ,  it  is 
none  the  less  a  deplorable  fact  that  little  remains  to  us  of 
his   authentic  achievements  in  its  behalf. 

For  a  specific  study  of  the  voice,  therefore,  the  student 
is  referred  to  Mr.  James  E.  Murdoch's  "  Analytic  Elocu- 
tion," which  is  a  simplified  interpretation  of  "  The  Phi- 
losophy of  the  Voice "  by  Dr.  James  Rush,  and  contains, 
besides,  many  notes  and  observations  gathered  during  Mr. 
Murdoch's  long  and  varied  experience  as  actor,  reader, 
and   teacher. 

We  give  below  the  fundamental  breathing  exercises  which 
should  be  considered  in  connection  with  the  flexing  and 
freeing  forms.  There  are  three  forms  of  breathing  in  which 
all  language,  from  simple  narration  to  the  most  violent 
burst  of  passion,   is  presented. 

In  a  simple  statement  of  fact  the  breath  flows  from  the 
organs  in  a  gentle,   steady  stream. 

First  Breathing  Exercise.  —  Stand  in  an  easy  position, 
the  weight  resting  on  the  balls  of  the  feet,  the  arms  hang- 


TeacJiers.  —  Exercises  for  Practice  8i 

ing  loosely  at  full  length  in  the  back,  the  fingers  lightly 
caught  together;  in  this  position  fill  the  lungs  by  deep, 
slow,  and  full  respiration.  After  a  short  pause,  during  which 
the  breath  is  retained,  part  the  lips  and  let  the  breath  pass 
out  in  a  gentle,  steady  whisper  of  the  word  "he;"  lips 
moderately  opened,  corners  drawn  back.  Endeavor  to 
economize  the  breath  in  this  exercise  as  much  as  possible, 
giving  it  out  as  slowly  and  steadily  as  you   can. 

In  any  emotional  utterance  the  physical  organism  is 
stimulated  to  greater  exertion  and  the  breath  rushes  from 
the    organs. 

Second  Breathing  Exercise.  —  Fill  the  lungs  as  before, 
and  then  expel  the  breath  in  a  forcible  whispered  breath- 
ing of  the  syllable  "hah;"  the  mouth  more  open,  lips 
slightly   rounded. 

In  extremely  passionate  expression  the  breath  seems  to 
burst  into  the  outer  air  impelled  by  a  powerful  effort  of 
the    vocal    mechanism. 

Third  Breathing  Exercise.  —  After  a  full  inspiration  ex- 
pel the  air  suddenly  in  a  violent  whispered  utterance  of 
the  syllable  "halt;"  the  mouth  must  be  widely  opened 
and  the  whisper  coming  from  well  back  in   the  throat. 

Give  the  above   exercises  with  vocal  sound. 

An  excellent  breathing  exercise  consists  in  filling  the 
lungs    and  then    sounding   the  long  vowel    a,  holding   it   on 


82  An  Hour  with  Delsarte 

a  level  line  of  pitch  as  long  as  it  is  round  and  does  not 
become  vibratory ;  then  take  e,  i,  o,  and  li  in  the  same 
manner ;  this  is  an  excellent  vocal  gymnastic  exercise ; 
practice  on  it  gives  a  steady  control  of  the  diaphragm 
and  makes  the  tones   of  the  voice   round,  firm,  and  clear. 


Exercises  fur  Ilarnionic  Poise  83 


I 


XIV. 

EXERCISES    FOR    HARMONIC    POISE. 

T  is  a  rule  in  all  harmonic  movements  that  the  head 
shall  follow  in  the  direction  in  which  the  wcii^ht  of 
the  body  is  thrown ;  that  is,  in  the  direction  taken  by  the 
leg  which  bears  the  weight  of  the  bod>' ;  at  the  same  time 
the  trunk  moves  in  opposition.  This  rule  is  founded  on 
the  laws  of  equilibrium  and  sustained  by  the  canons  of 
grace. 

Exercise  i.  Stand  with  the  feet  slightly  apart,  toes 
nearly  on  a  line,  the  weight  resting  equally  on  both  feet; 
slowly  sway  the  bod>'  forward  until  its  weight  rests  en- 
tirely on  the  balls  of  the  feet,  but  without  lifting  the  heels 
from  the  floor;  in  the  same  manner  sway  backward  as  far 
as  possible  with  the  weight  entirely  on  the  heels.  Avoid 
overbalancing. 

Exercise  2.  With  the  feet  in  the  same  position,  weight 
resting  equally  on  both,  withdraw  the  weight  gradually 
from  the  left  leg,  giving  it  entirely  to  the  right,  the  head 
following  the  direction  of  the  weight  and  the  trunk  taking 
the  opposite    direction;    now    reverse    the   movement,   grad- 


84  An  Hour  with  Delsarte 

ually  withdrawing  the  weight  from  the  right  leg,  give  it 
over  to  the  left,  the  head  and  trunk  moving  in  opposition 
as  before. 

Exercise  3.  Stand  with  the  right  foot  advanced  so  that 
the  head  is  about  on  a  Hne  with  the  toes  of  the  left,  the 
weight  equally  borne  by  each;  gradually  transfer  the 
weight  to  the  advanced  leg  until  the  weight  is  entirely 
borne  by  that  member,  the  head  following  the  direction 
of  the  weight,  and  the  trunk,  or  torso,  moving  in  opposi- 
tion as  before.  Repeat  this  exercise  with  the  left  foot 
advanced. 

Let  the  student  try  moving  the  head  and  trunk  both  in 
the  direction  of  the  advanced  leg,  and  the  loss  of  equi- 
librium, or  balance,  which  will  result  is  the  most  convincing 
proof  of  the  mechanical  as  well  as  the  aesthetical  value  of 
the  oppositions. 

Exercise  4.  Stand  with  one  foot  advanced  as  before,  the 
weight  equally  sustained  by  each  foot,  rotate  the  entire 
body  at  the  ankles,  the  waist  describing  the  direction  taken 
and  the  head  following  in  opposition.  In  all  of  these 
exercises  the  movements  must  be  sinuous,  not  angular, 
and  the  transitions  must  be  accomplished  with  something 
of  the  subtilty  of  feline  grace,  the  movement  touching 
successively  every  joint  and  articulation  in  the  course  over 
which  it  travels. 


Exercises  for  Harmonic  Poise  85 

Exercise  5.  Sit  in  :i  chair  with  the  spinal  articuhitions 
l}'inij  easily  against  the  back  of  the  chair,  chest  and  shoul- 
ders relaxed,  but  not  drooping,  with  the  body  in  a  purely 
passive  attitude;  move  the  trunk,  or  torso,  forward,  first 
energizing  at  the  waist  as  the  objective  point,  the  energy 
extending  successively  to  the  chest,  shoulders,  and  head, 
the  latter,  which  s\'mpathizes  with  the  weight,  following 
the  trunk  in  graceful  opposition,  until  the  attitude  is  one 
of  animated  activity.  Now  reverse  the  movement,  allow- 
ing the  trunk  to  sink  slowly  back,  the  waist  leading  and 
the  head  following  in  opposition  as  before,  until  the  first 
position  of  negative  inactivity  is  resumed.  It  will  be  ob- 
served that  with  the  body  in  this  position,  the  spinal 
column  describes  the  arc  of  a  circle  and  is  convex,  while 
the  breast  is  concave ;  but  in  the  forward  movement,  when 
the  body  is  fully  animated,  the  position  is  just  reversed, 
and  the   breast   is  convex  while  the   back  is  then   concave. 

Exercise  6.  Sitting  in  the  same  attitude  as  in  beginning 
the  last  exercise,  move  the  trunk  obliquely  forwartl  to  the 
right  until  the  body  is  highly  energized,  then  reverse  the 
movement,  allowing  the  trunk  to  return  to  its  [position  of 
passive  ease,  observing  in  this  precisely  the  same  principle 
as  in  the  last  exercise.  Now  repeat  this  exercise  by  making 
the  movement  obliquely  to  the  left  and  back ;  then  var\- 
it   by   moving   directly  to  the    right  side   and    back,   then   to 


86  A 71  Hour  with  Delsarte 

the  left  side  and  back.  Finally,  rotate  the  trunk  forward 
to  the  position  of  greatest  strength  and  relax,  returning  to 
the  inactive  poise,  —  the  waist  describing  a  half  circle  for- 
ward and  a  half  circle  backward.  Reverse  the  movement, 
rotating  forward  in  the  opposite  direction  and  then  back. 

Exercise  y.  Begin  practising  the  harmonic  expansion 
of  the  hand  b}-  closing  the  tips  of  the  fingers  in  a  cluster 
about  the  tips  of  the  thumbs,  the  hands  being  held  up 
before  the  breast  ;  then  with  an  even,  regular  movement 
expand  the  hands,  at  the  same  time  withdrawing  them  in 
opposite  directions  until  they  are  wide  apart,  and  fully 
open.  Now,  begin  slowly  to  close  them,  bringing  them 
together  at  the  same  time  until  the  tips  of  the  fingers 
cluster  about  the  tips  of  the  thumbs  as  before.  The  hands 
before  the  breast  in  the  same  manner,  placing  the  tips  of 
the  second  and  third  fingers  against  the  tips  of  the  thumbs, 
expand  the  hands,  separating  them  as  before,  until  they 
are  far  apart  and  both  are  wide  open ;  then  return  them 
to  place  with  the  same  smooth,  flowing  motion.  This  ex- 
ercise tends  to  educate  immobile  and  expressionless  hands 
to  that  state  of  lightness  and  pliancy  which  goes  so  far  to 
impart  a  meaning  and  purpose  to  gesture. 

Exercise  8.  Referring  to  Chapter  VII.,  assume  succes- 
sively the  simple  or  fundamental  attitudes  of  the  body 
therein    illustrated    and    described,    observing    in    the    tran- 


Exercises  for  Harmonic  Poise  87 

sition    from    each    assumption    tlic    harmonious    principles 
described  above. 

A  passing  or  transitory  gesture  is  called  an  inflection ; 
an  arrested  inflection  is  called  an  attitude;  and  an  habitual 
attitude  is  called  a  bearing. 

The  hand  has  three  sides  or  faces, — ^  the  palm,  the  back, 
and  the  edges,  —  and  one  of  these  is  always  presented 
in  gesture.  In  describing  the  hand,  Delsarte  invests  the 
palm  with  the  office  of  revealing  the  vital  nature;  the 
back  he  makes  the  agenc\-  of  the  emoti\'e  nature,  and 
in  the  sides  he  finds  an  agreement  or  accordance  with  the 
mental  nature.  It  is  the  business  of  the  hand  in  gesture 
to  define,  which  it  does  with  the  index  finger  or  the  open 
hand  agitated  perpendicularl)'  ;  to  indicate,  b\-  pointing 
with  the  fore-finger,  or  by  a  toss  of  the  hand  toward  the 
object  ;  to  assert,  by  throwing  out  one  or  both  hands, 
palms  supine  ;  to  affirm,  by  placing  or  slapping  the  fore- 
finger, or  two  fingers,  or  the  whole  hand  into  the  palm  of 
the  other,  or  by  slapping  the  hand  or  pounding  the  fist 
on  any  convenient  surface,  as  in   heated  discussion. 

An  affirmation  is  an  emphasized  assertion  ;  the  hand 
denies  by  being  raised  perpendicularh',  palm  outward,  lat- 
erally toward  the  one  who  is  the  object  of  the  denial. 
Rejection  is  often  a  mild  form  of  denial,  and  is  expressed 
in  the   hand    b\'   holding   it    dej^endent    from   the  wrist   with 


88  An  Hour  with  Delsarie 

the  back  presented,  and  agitating  it  forward  and  back 
with  a  sort  of  pushing  movement.  Impatience  is  mani- 
fested by  the  hand  in  a  restless  tapping  of  the  fore-finger, 
or  the  opening  and  closing  of  the  fists,  or  a  snapping  of 
the  fingers  and  thumb.  In  the  act  of  concealment  the 
back  of  the  hand  is  shown,  the  palm  being  toward  the 
object  to  be  concealed ;  while  in  revealment  the  palm  is 
exposed. 

The  hand  inquires  by  being  raised  extended,  palm  pre- 
sented, fingers  and  thumb  slowly  expanding  and  directed 
at  an  angle  upwards.  Acquiescence  is  shown  by  a  slight 
waving  apart  of  the  hands,  fingers  pointing  downward, 
palms  presented.  Anger  is  sometimes  declared  by  the 
tightly  clinched  fists.  Malicious  triumph  is  betrayed  by 
the  feverish  rubbing  of  the  hands  as  in  washing  them ; 
self-complacency  by  the   soft  friction  of  the  palms. 

The  hand  caresses  by  tenderly  stroking  or  patting  the 
object  of  the  attention.  The  hand  expresses  the  idea 
of  moral  support  by  being  held  out  horizontally,  palms 
supine.  These  and  a  great  variety  of  mental  operations 
are  revealed  in  the  inflections  of  the  hand  ;  as,  for  in- 
stance, the  slow  moving  of  the  thumb  over  the  tips  of 
the  fingers  to  denote  the  exercise  of  reflection,  reasoning, 
and   the  eff"orts  of  formulating  thought. 

Exercise   g.      The   student    is    recommended    to   the   con- 


Exercises  for  Harmonic  Poise  89 

stant  practice  of  these  and  of  the  attitudes  of  the  hands 
shown  in  the  postures  described  in  Chapter  VII.,  with 
others  of  his  own  devising  ;  this  practice,  if  persistently 
followed,  will  speedily  deliver  the  pupil  from  the  monotony 
of  a  few  habitual  gestures,  by  imparting  a  variety  of  ex- 
pressive coloring  to  his  movements. 

Exercise  10.  Standing  in  a  normal  position,  raise  the 
right  arm  by  means  of  the  wrist  to  a  level  with  the  waist 
and  energize  it  ;  holding  it  thus  before  you  at  a  slight 
angle  with  the  floor,  describe  the  figure  eight,  moving 
with  a  light,  wavy  motion  of  the  hand,  progressing  to  the 
right  as  far  as  the  arm  will  move  gracefully  ;  repeat  this 
exercise  with  the  left  arm,  progressing  to  the  left,  then 
with  both  arms. 

Exercise  11.  In  the  same  position,  elevate  the  arm  by 
means  of  the  wrist  to  a  level  with  the  shoulder  and 
energize  it,  as  before  ;  now,  with  the  same  yielding 
motion,  as  last  described,  outline  the  character  eight  on 
the  opposite  wall,  moving  to  the  right  as  before,  until  the 
space  of  a  quadrant  has  been  covered  ;  again,  repeat  with 
the   left   arm,   then  with   both. 

Exercise  12.  Again,  by  means  of  the  wrists  elevate 
the  arms  until  they  are  directed  toward  the  ceiling,  then 
energize  them,  and  throw  the  outline  of  the  figures  above 
the    head,    covering    a    quarter    circle,    as    before.      Repeat 


QO  An  Hour  with  Delsarte 

once  more  with  the  left  arm.  and  then  with  both  arms  ; 
vary  this  exercise  by  presenting  the  edges  of  the  hand 
and  cutting  the  figures  sidewise,  instead  of  with  the  palm. 

Exercise  13.  Raise  the  right  arm  directly  in  front  of  you, 
wrist  directing,  palm  down,  energize  on  a  plane  just  below 
the  chest;  now  move  to  the  right,  the  elbow  leading,  let- 
ting the  movement  flow  into  the  wrist  and  hand ;  then 
reverse,  bringing  the  hand  back  to  the  body,  marking  the 
articulations  successively  at  the  shoulder,  elbow,  and  wrist 
as  you  do  so,  just  as  you  would  strike  a  broken  chord  of 
music.  A  common  fault  with  stiff,  awkward  people  is  that 
they  move  not  only  their  arms,  but  all  parts  of  the  body, 
as  if  it  were  one  piece,  and  not  composed  of  parts  hung 
together  by  joints  which,  whenever  the  leg,  waist,  or  arm 
are  moved,  must  all  speak,  as  it  were ;  repeat  the  above 
exercise  with  the  left  arm,  then  with  both;  again  practise 
them  with   the   palms   of  the   hand   upward. 

Exercise  14.  Again  extend  the  arms  directly  in  front, 
wrist  leading,  rotate  arm,  the  hand  passive,  energize,  close 
fingers  in  hand,  close  wrist,  close  elbow,  raise  elbow  hori- 
zontally on  a  line  with  the  shoulders,  unfold  elbow,  unfold 
wrist,  unfold  fingers,  and  finally  expand  and  energize  the 
entire  arm ;  now  return  to  first  position  by  closing  fingers, 
closing  wrist,  closing  elbow,  dropping  elbow,  then  unfold 
elbow,  unfold  wrist,  unfold  fingers,  energize  the  entire  arm 


Mir\e  woec5  ^pici 
lhi6  6pirii  ^ore.' 


•«i 


% 


Exercises  for  Harmonic  Poise  9 1 

in  front,  palm  upward,  now  surrender  the  arm  to  its  normal 
position;  repeat  this  exercise  many  times,  until  you  can 
close  and  unfold  the  joints  of  the  arm  freely  and  rapidly 
in   any   and    all    directions    and    at    any   altitude. 

The  law  of  harmony  demands  that  parallel  movements 
shall  be  consecutive ;  that  is.  one  agent  of  expression  lead- 
ing, the  others  following,  and  that  the  movement  of  two 
agents   in    opposition   shall   be   made   simultaneously. 

Exercise  15.  The  mind  directs  the  body  to  move  right, 
the  right  arm  follows  the  inclination  of  the  bod}',  the  wrist 
leading ;  next  the  left  arm  follows  the  right,  the  wrist  lead- 
ing ;  the  head  has  simultaneously  moved  to  the  left  in 
opposition ;  now  reverse  the  movement,  moving  the  body 
and  arms  successively  and  rhythmicall\'  to  the  left,  at  the 
same  time  moving  the  head  to  the  right ;  repeat  the  move- 
ment obliquely  to  the  right  and  then  to  the  left,  raising 
the  arms  to   different   altitudes. 

Exercise  16.  Bow  the  bod>' at  waist  line;  as  you  do  so 
raise   the   arms  back  in   opposition. 

Exercise  17.  Bow  the  head  on  the  chest,  simultaneously 
raising  the  arms,  wrists  leading ;  now  raise  the  head  as  )-ou 
lower  the  arms. 

Exercise  18.  Assume  the  attitude  of  vehemence,  the 
right  leg  forward  and  strong  with  the  knee  bent ;  at  the 
same  time  raise  the  left  arm  forward  obliquely  and  the  right 


92  An  Hour  with  Delsarte 

arm  backward  obliquely;  with  a  slight  elastic  spring  re- 
sume a  normal  position ;  now  reverse,  taking  a  marked  step 
forward  with  the  left  foot,  at  the  same  time  raising  the 
right  arm,  wrist  leading,  obliquely  to  the  right,  and  the 
left  arm  obliquely  backward  and  to  the  left;  now  resume 
a  normal  poise,  which  is  the  correct  position  when  in 
repose;  repeat  these  steps  over  and  over  again  until  they 
can  be  taken  accurately,  with  the  arms  in  perfect  opposi- 
tion,  as   fast   as   they  can  be   called  off. 

Exercise  19.  Continue  the  study  of  the  arms  by  con- 
sidering the  shoulder,  which  when  raised  indicates  sensi- 
bility, or  an  emotion  of  extreme  joy  or  hate,  as  must  be 
determined  by  the  expression  of  the  face.  Grief,  pros- 
tration,  or  concentration   droops    the   shoulders. 

Exercise  20.  Assume  the  different  attitudes  of  the 
elbow;  subordination  of  self  turns  the  elbows  in,  while 
assertion   and   self-conceit   turn   them   outward. 

Exercise  21.  Consider  the  attitudes  of  the  entire  arm; 
when   in  repose   they  fall  just  in   front  of  the   hips. 

The  arms  crossed  lightly  on  the  breast  indicates  a  spirit- 
ual resignation  of  the  will;  if  they  are  tightly  folded  and 
raised  on  a  level  w-ith  the  shoulders,  it  indicates  suppressed 
passion  or  a  concentration  of  vital  force. 

The  hands  resting  on  the  hips,  the  elbows  turned  out, 
indicates    impertinence,    self-assertion,    boasting;     the    arms 


Exercises  for  Harmonic  Poise  93 

carried  directly  forward,  hands  prone,  fingers  widely  sep- 
arated and  energized,  the  body  simultaneously  moving 
backward  in  opposition,  is  the  expression  of  passionate  ex- 
plosion, which  is  the  result  of  a  concentration  of  strong 
feeling. 

Exercise  22.  Assume  the  attitude  of  exaltation,  right  leg 
advanced  and  strong,  that  is,  bearing  the  entire  weight 
simultaneously ;  raise  the  right  arm  with  a  spiral  move- 
ment to  the  highest  altitude,  the  fore-finger  prominent; 
now  make  a  transition  of  the  weight  to  the  left  leg,  simul- 
taneously raising  the  left  arm  with  a  spiral  movement  into 
an  attitude  of  vindication;  the  right  arm  will  be  slightly 
raised   and  to  the   right,   hand   prone. 

Exercise  23.  Kneel  on  the  left  knee,  the  left  hand  on 
the  chest  and  the  right  arm  extended  in  appeal;  rise  and 
kneel  on  the  right  knee,  simultaneously  clasping  the  hands 
in  front  of  the  chest  in  entreaty;  rise  and  kneel  on  the 
left  knee,  at  the  same  time  extending  both  arms  in  sup- 
plication; repeat  this  over  and  over  again,  first  on  one 
knee  and  then  on   the   other. 

Exercise  24.  We  are  told  that  "  harmony  was  born  of 
contrasts."  We  will  continue  our  practice  of  the  opposi- 
tion between  the  head  and  arm  by  first  raising  the  right 
arm  as  we  lower  the  head  on  the  chest;  next  carry  the 
arm    to    the    right,    striking    all    the    notes    or    articulations. 


94  An  Hour  with  Delsarte 

simultaneously  carrying  the  head  to  the  left;  now  raise 
the  left  arm  as  you  carry  the  head  back  to  normal  poise 
midway  between  the  shoulders ;  now  lower  the  head  as  you 
cross  hands  upon  the  breast ;  now  raise  the  head  as  you 
expand  the  arms  horizontally ;  finally  surrender  the  arms, 
letting  them  drop  at  the  side  in  normal  position ;  repeat 
the  exercise,  the   left  arm   leading. 

Exercise  25.  Now  we  will  try  a  more  complex  com- 
bination. Standing  in  a  correct  position  of  repose,  raise 
the  right  arm  and  rotate  it  into  an  attitude  of  appeal ;  now 
energize  the  arm,  at  the  same  time  lowering  the  chin  as  in 
accusation ;  next  swing  the  arm  over  the  head,  the  hand 
in  the  attitude  of  exasperation,  head  lowered,  chin  thrown 
forward  as  in  cursing;  next  drop  the  hand  on  the  back  of 
the  head,  which  has  risen  in  opposition  to  meet  it,  —  the 
attitude  indicates  remorse  (the  attitude  would  be  strength- 
ened if  the  left  hand  were  on  the  chest  or  carried  to  the 
back  of  the  head  also)  ;  now,  without  separating  the  head 
and  arm,  allow  them  to  fall  on  the  chest  in  deep  thought 
or  grief;  now  raise  the  head  and  rotate  to  the  rieht,  which 
will  allow  the  arm  to  fall  across  the  chest,  and  you  have 
an  attitude  signifying  reproach ;  now  rotate  the  head  to 
the  left  and  the  arm  to  the  right,  and  the  attitude  is  that 
of  rejection  or  repulsion;  raise  the  left  arm,  rotate  the 
head   to  a  position    midway  between    the    shoulders,    rotate 


Exercises  for  Harmo7iic  Poise  95 

the  arms  into  attitude  of  supplication,  the  body  carried 
forward  on  the  advanced  leg;  now  rotate  the  arms  until 
the  hands  are  prone  in  an  attitude  of  benediction  as  they 
drop  to  normal  position,  the  body  also  settling  on  the 
back    foot. 


96  An  Hour  with  Delsarte 


XV. 


THE    HEAD,  EYE,  NOSE,  MOUTH,  AND  MECHANICAL 
MOVEiMENTS. 

A  WELL-POISED  head  is  the  fitting  accompaniment  of 
a  shapely  person,  and  usually  bespeaks  a  well-or- 
dered mind,  and  goes  far  besides  to  atone  for  the  physical 
imperfections  of  other  members,  being  the  objective  point 
of  the  line  of  vision  and  therefore  most  constantly  under 
the   criticism   of  the   eye. 

We  admire  an  elastic  step,  a  yielding  curve  of  the  pliant 
arm,  and  a  supple  grace  in  the  carriage  of  the  body;  but 
add  to  these  the  charm  of  a  nicely  balanced  head,  and  the 
picture  is  complete ;  we  have  the  finished  grace  of  an 
undoubted    personal    bearing. 

A  normal  poise  of  the  head  requires  that  it  shall  be 
carried  midway  between  the  shoulders,  neither  raised  nor 
depressed.  The  ruling  state  of  the  being  is  revealed 
through  the  various  attitudes  of  the  head.  For  instance, 
a  person  of  a  sympathetic  nature  who  is  full  of  trust  and 
tenderness  will  habitually  incline  the  head  forward  or 
toward  the  object  of  his  esteem;  while,  on  the  contrary, 
a  person   who    is    cold,    unsympathetic,   and    distrustful    will 


Oh,  iz^r,  I  'orQof 
dl  dJD°irf  if  '  '^ 


The  Head  97 

habitually  and  naturally  withdraw  the  head  backward.  Bear- 
ing in  mind  that  motion  is  in  obedience  to  the  thought 
or  emotion  which  created  it,  it  will  readily  be  seen  that 
reflection,  humility  of  spirit,  subordination  of  self,  and  all 
kindred  sentiments  will  concentrate  or  lower  the  head 
upon  the  chest;  and  if  the  sentiment  be  a  complex  one  of 
humility,  trust,  and  affection,  we  have  the  spiritual  attitude 
of  veneration  or  adoration,  which  is  also  complex  in  that 
it  is  first  lowered  and  then  inclined  forward  with  an  upward 
inflection. 

In  the  same  way  the  complex  feelings  of  scrutiny  and 
distrust  will  produce  an  attitude  of  suspicion,  jealousy,  hate, 
or  envy,  which  first  lowers  the  head  and  then  draws  it 
backward.  All  emotions  of  exaltation  throw  the  head  up- 
ward ;  if  the  feeling  of  exaltation  is  invaded  by  that  of 
trust  and  resignation,  it  first  throws  the  head  backward  and 
then  forward  with  an  upward  inflection.  If  the  feeling  of 
distrust  and  self-assertion  is  mingled  with  that  of  exaltation, 
we  have  the  attitude  of  arrogance  or  defiance ;  the  head 
is  first  thrown  upward  and  then  drawn  backward.  The 
study  of  the  attitudes  of  the  head  and  those  of  all  parts 
of  the  body,  especially  the  various  expressions  of  the  eye, 
nose,  and  mouth,  should  be  carefully  practised  before  a 
mirror. 

Most  people  consult  their  mirrors  for  the  single  purpose 


98  All  Hour  with  Delsarte 

of  seeing  their  attractiveness  ;  we  should  study  them  for 
the  purpose  of  seeing  ourselves  as  others  see  us.  The 
study  of  the  profile  view  of  the  face  and  head  should 
not  be  omitted  :  some  features  will  bear  a  straight  profile 
view;  others  of  a  warmer  nature  look  best  with  a  convex 
exposure  of  the  features  ;  still  others  require  that  the 
head   be  turned  away. 

THE    EYE. 

In  the  law  of  sequence  or  priority  the  eye  is  the  first 
agent  of  expression  to  respond  to  the  workings  of  the 
mind,  and  reveals  its  rest  or  activity.  Quick,  restless  move- 
ments of  the  eye  are  not  an  indication  of  intellectual 
activity  ;  it  is  only  so  when  the  glance  is  observant  as 
well  as  quick.  Intellectual  sluggishness  is  revealed  through 
the  slow  movements  of  the  muscles  of  the  eyeball.  Active, 
energetic,  practical  people  have  a  direct,  near  glance,  while 
speculative  dreamers  look  far  away.  The  muscles  about 
the  eye  are  the  active  agents  of  expression.  "  The  eyeball 
is  simply  an  indicator  of  the  direction  from  which  an  im- 
pression comes  or  to  which  an  impression  goes." 

THE    NOSE. 

When  we  are  in  a  normal  condition,  —  that  is,  free  from 
any    particular    emotion    or    excitement, — the    nostrils,   like 


The  Moutk  99 

the  other  agents  of  expression,  are  in  repose.  Excitement 
and  passion  dilate  the  nostrils;  while  with  people  who  are 
selfish,  hard,  and  cruel,  the  nostrils  are  contracted. 

People  who  are  aggressive  in  temperament  manifest 
their  natures  by  wrinkling  the  nose  laterally  between  the 
eyebrows  ;  if  a  feeling  of  cruelty  is  added  to  that  of 
aggression,  we  have  the  expression  of  hate,  which  also 
contracts  the  nostrils.  Scorn  and  anger  also  dilate  the 
nostrils.     Contempt  raises  the  nostrils  and  contracts  them. 

The  nose  plays  a  greater  part  in  the  expression  of  the 
face  than  we  are  apt  to  imagine,  and  is  consequently 
often  overlooked. 

THE    MOUTH. 

The  mouth,  like  the  nose,  plays  its  part  in  expression, 
and  corresponds  with  the  other  agents :  when  in  repose 
the  lips  are  normal  or  lightl)'  closed ;  firmness  of  purpose 
compresses  them  tightly  together;  and  if  there  is  any  ad- 
ditional feeling  of  disapproval  the  corners  of  the  mouth 
will  be  depressed.  Abandon  and  suspense  slightly  part 
the  lips,  while  in  astonishment  they  are  completely  apart. 

Grief  depresses  the  corners  of  the  mouth,  lips  slightlx' 
apart ;  while  horror  parts  the  lips  widely,  corners  much 
depressed.  Joy  and  pleasure  elevate  the  corners  of  the 
mouth    and    slightl}'    part    the    lips,    while    approval    closes 


lOO  An  Hour  with  Delsarte 

them.  The  expression  of  an  otherwise  attractive  face  is 
often  sadly  marred  by  the  habitual  drooping  of  the  corners 
of  the  mouth  ;  it  usually  accompanies  imaginary  troubles 
or  a  sour  disposition. 

HOW    TO    SIT. 

Settle  into  your  seat;  do  not  drop,  nor  flop,  nor  bounce, 
nor  plump  into  it.  If  the  seat  is  an  arm-chair,  rest  one 
hand  lightly  on  the  arm,  and  carry  the  head  slightly  for- 
ward in  bending  the  body  as  it  inclines  toward  the  seat ; 
settle  pliantly  backward,  touching  the  back  of  the  chair  at 
the  waist-line  first,  and  successively  each  joint  in  the  artic- 
ulations of  the  back  until  the  neck  is  reached  and  the 
head  falls  easily  into  a  restful  attitude.  Many  well-mean- 
ing people  make  those  about  them  feel  uncomfortable  by 
sitting  rigidly  erect  like  vestry  deacons  or  court  function- 
aries. To  put  others  at  their  ease  you  should  be  at  ease 
yourself.  Sit  in  repose,  the  muscles  relaxed  ;  do  not  ener- 
gize the  shoulders  and  limbs  in  bending  forward  as  if  you 
were  built  on  a  movable  frame ;  move  with  suppleness, 
letting  your  action  be  reflectively  shown  in  all  parts  of 
the   body. 

HOW    TO    BOW. 

In  polite  usage  the  pretentious  formal  bow  is  no  longer 
decorous;    it    has    been    superseded    by    the    mere    graceful 


Mechanical  Movements  loi 

inclination  of  the  body,  bending  slightly  from  the  ankles; 
and  this  form  prevails  both  on  the  platform  and  in  the 
parlor.  Out  of  vogue  too  is  the  familiar  nod  of  the  head 
in  recognizing  another.  An  inclination  of  the  body  is  the 
genteel  form  of  recognition,  which  has  the  merit  of  being 
graceful   as  well. 

The  agents  of  expression  having  been  studied  in  detail, 
and  the  mechanical  action  of  all  parts  of  the  body  having 
been  in  a  degree  mastered,  it  has  been  found  desirable 
to  arrange  an  attractive  series  of  mechanical  movements 
which  should  call  into  play  all  the  muscles  of  the  body, 
and  which  should  be  practised  in  regular  order  to  suitable 
music.  In  the  first  place,  the  music  is  inspiring  and  makes 
a  pleasure  out  of  what  might  otherwise  seem  a  task;  be- 
sides, it  has  the  additional  value  of  taking  the  pupil's  mind 
away  from  himself  and  of  allowing  him  to  make  the  move- 
ments unconsciously,  which  is  of  the  highest  importance. 

Every  teacher  will  arrange  his  own  order  of  what  might 
perhaps  be  termed  exhibitions  illustrative  of  the  underly- 
ing principles  of  the  system;  this  will  be  based  upon  his  own 
personal  taste  and  experience,  and  must  be  executed  with 
accuracy  and  precision,  accustoming  the  class  to  rapid  and 
true  transitions  from  one  movement  or  attitude  to  another, 
frequently   varying  the   order  of  the    transitions,   that    they 


I02  An  Hour  with  Delsarte 

may  be  clastic  both  in  mind  and  body,   readily  responding 
to  any  and  all  conditions  of  thought  and  expression. 

A  very  good  plan  is  to  begin  by  practising  the  walk ; 
select  a  quiet  air  by  which  the  class  can  walk  (not  march) 
easily  and  naturally  about  the  room.  Let  the  music  change 
to  the  air  of  "  Home,  Sweet  Home,"  the  walk  changing 
to  suit  the  music ;  let  the  whole  body  assume  the  attitude 
of  reflection  or  concentration :  the  steps  are  taken  very 
slowly,  the  weight  lingering  on  the  advanced  foot,  the 
back  foot  raised  very  gradually.  Now  let  the  music  sud- 
denly change  to  "  The  House  is  Haunted  "  or  any  similar  air, 
which  will  enable  the  class  to  change  the  slow,  concentric 
walk  to  that  of  secrecy  and  stealth ;  let  the  arms  and 
body  assume  the  attitude  of  attention  or  eagerness,  take 
the  steps  cautiously  almost  on  tiptoe ;  let  each  member  of 
the  class  regard  another  with  alternating  expressions  and 
gestures  of  secrecy,  admonition,  gentle  warning,  and  co- 
quetry; let  the  class  move  noiselessly  about  the  room 
keeping  step  with  the  rhythm  of  the  music.  Now  let  the 
music  change  to  "  Amaryllis  "  or  any  minuet  time;  let  every 
other  one  in  the  class  join  hand  with  the  one  in  front,  and 
move  about  the  room  to  the  stately  time  of  the  music, 
alternating  the  steps  and  attention  outward,  or  at  right 
angles,  and  then  inward  toward  each  other;  then  let 
the    music    change    to    the    first    movement,    and    so     on ; 


It  c\n  do  no  ^.<Nrm , 
oor  thina 


A 


M3\ 


>^ 


yX^   OF  THE         ^ 

^univeb:it7; 


Mechanical  Movements  103 

this     exercise    will     be     found    very    attractive     and    very 
improving. 

Numberless  exercises  can  be  devised  for  the  arm  move- 
ments, suiting  the  motions  to  whatever  music  may  be  se- 
lected, or  vice  versa.  In  our  own  work  we  have  found  it 
desirable  to  have  the  music  specially  composed  and  ar- 
ranged to  suit  the  action.  The  air  of  "  The  Shepherd 
Boy"  can  be  followed  very  easily  by  starting  with  the 
weight  first  on  the  left  leg;  as  the  music  begins  let  the 
body  and  right  arm  move  right,  the  wrist  carrying  the  hand, 
which  is  passive  to  the  highest  altitude ;  suddenly  suspend, 
the  body  falling  into  normal  position  at  the  same  time ;  let 
the  movement  flow  rhythmically  into  the  left  side  and  sus- 
pend as  before;  finally  take  the  movement  up  horizon- 
tally with  both  arms,  bringing  them  back  with  control, 
to  suit  the  music,  and  finishing  with  a  little  rotary 
motion  of  the  hands;  repeat  this  process  by  raising  the 
arms  directly  in  front  of  you,  then  repeat  carrying  them 
obliquely  to  the  right  and  left;  now  repeat  the  entire 
process  from  beginning  to  end,  only  instead  of  suspend- 
ing the  arm  when  you  ha\c  it  raised  to  the  highest 
altitude,  reverse  the  wrist  and  bring  the  arm  back  with 
control,  letting  the  movement  flow  through  all  the  articu- 
lations of  the  arm  and  the  mox'cment  of  each  arm  be 
taken    up    instantly    with    the    cessation    of   the    other.      A 


104  An  Hour  with  Delsarte 

little  air  called  "The  Flower  Song"  is  very  pretty  for 
this  exercise.  If  you  like  you  can  repeat  this  entire  pro- 
cess by  giving  impulse  to  the  movement  from  the  upper 
arm  instead  of  the  wrist,  letting  a  feeling  of  prostration 
gradually  bring  the  arm  back  to  its  normal  position.  The 
process  of  writing  the  figure  eight  at  different  altitudes,  as 
previously  described,  and  what  is  sometimes  termed  the 
"  feather  movement"  is  very  pretty  practised  to  light  music. 
Next,  practise  the  oppositions  by  arraying  the  class  in 
rows  across  the  further  end  of  the  room ;  let  them  advance 
to  suitable  music,  first  stepping  forward  with  the  right  foot 
and  simultaneously  raising  the  left  arm  forward  and  the 
right  arm  backward ;  then  step  forward  with  the  left  foot 
and  simultaneously  raise  the  right  arm  forward  and  the 
left  arm  backward ;  let  the  steps  and  movements  of  the 
arm  flow  rhythmically  one  with  the  other ;  advance  the  class 
as  far  as  the  limits  of  the  room  will  allow,  and  then  let 
them  retreat  with  the  same  movements.  Now  arrange  a 
series  of  attitudes  expressive  of  various  sentiments  or  emo- 
tions, after  the  manner  elsewhere  described  and  illustrated 
in  this  book ;  don't  compel  every  member  of  the  class  to 
assume  the  attitude  just  exactly  alike ;  let  each  convey  the 
idea  in  the  way  that  is  most  characteristic  and  becoming 
to  himself,  that  having  been  decided  upon  previous  to 
the    ensemble    exercise.     Select    some    music  which    consists 


Mechanical  Movements  105 

of  a  succession  of  chords ;  let  the  class  assume  the  various 
attitudes  and  hold  each  through  one  or  two  bars  of  music; 
close  the  series  with  an  attitude  which  will  make  a  strong 
climax,  such  as  the  command  "  Go,"  or  exaltation,  resig- 
nation, or  triumph. 


io6  An  Hou7'  witJi  Delsarte 


XVI. 

THE    STAGE. —CONCLUSION. 

TT  /"HO  has  not  rapturously  listened  to  a  good  story- 
teller !  Who  has  not  eagerly  followed  him  word 
by  word  from  rise  to  climax,  and  laughed  at  and  heartily 
applauded  the  point !  No  matter  apparently  how  indiffer- 
ent the  story  itself  may  be,  that  is  something  we  neither 
have  time  nor  care  to  consider ;  we  only  know  that  it 
pleases  us,  but  just  how  or  by  what  means  we  do  not 
stop  to  analyze,  and  we  never  discover  until  we  hear  the 
same  story  fall  utterly  flat,  or  lose  half  its  charm  on  the 
lips  of  another;  then  we  first  realize  that  it  was  the  story- 
teller, not  the  story,  w^iich  most  attracted  us.  How  often 
the  same  is  true  of  a  play !  We  recall  its  name  and  the 
qualities  of  the  well-remembered  characters,  and  we  are 
in  the  habit  of  ascribing  the  pleasurable  sensations  which 
accompany  these  recollections  to  the  merit  of  the  play 
itself;  but  what  we  recall,  what  really  afforded  us  pleasure, 
was  oftentimes  only  the  charm  of  the  actor's  personality, 
and   not  any  feature  of  the  play  at  all.     The  proof  of  this 


The  Stage  107 

is  seen  when  we  witness  the  same  play  given  with  an  infe- 
rior cast,  and  wonder  what  there  was  in  that  play  that  so 
interested  us  once.  Herein  is  shown  the  soundness  of  the 
plea  so  generally  advocated  for  the  possession  of  unques- 
tioned natural  endowment  in  those  who  adopt  the  stage 
for  their  calling;  and  while  the  feasibility  of  cultivating 
natural  gifts  is  not  here  denied,  but  on  the  contrary  is 
strongly  supported,  no  intelligent  exponent  of  Dclsarte 
will  pretend  that  these  gifts  can  be  acquired  or  their  ab- 
sence supplied  by  any  substitute,  through  any  system  of 
inculcation    yet    invented. 

So  the  question  resolves  itself  into  a  discussion  of  ways 
and  means :  given  the  natural  or  crude  material,  the  prob- 
lem is,  how  shall  that  material  be  made  most  available  in 
the  shortest  time?  Shall  we  have  a  systematic  plan  of 
study,  as  in  the  other  arts  and  professions ;  or  shall  the 
student  of  the  stage  alone,  of  all  students,  be  compelled  to 
submit  the  development  of  his  talents  to  the  caprice  of 
chance  and  irregular  study,  and  be  obliged  to  content 
himself  with  an  empirical  self-graduation  in  lieu  of  the 
diploma  of  proficiency  honorably  conferred  b)'  a  recog- 
nized  institution  or   qualified  body? 

This  is  the  question ;  and  until  it  is  answered,  only  the 
most  masterful  gifts  can  ever  hope  for  complete  expansion 
and    recognition ;   the    prize   is    inaccessible    to    many  admi- 


io8  An  Hour  with  Delsarte 

rably  endowed  who  are  debarred  from  the  Hsts  through 
purely  circumstantial  disqualifications,  which  are  unknown 
to  other  artistic  pursuits.  Under  the  present  conditions 
brass  is  more  valuable  than  brains,  and  many  who  are 
destitute  of  that  very  useful  attribute  are  shut  out  en- 
tirely in  consequence. 

This  condition  is  especially  lamentable  in  this  day  of 
marvellous  accuracy  in  stage  productions,  when  the  public 
taste,  grown  fastidious  through  familiarity  with  the  stage 
triumphs  of  master  intellects,  demands  a  greater  and 
greater  degree  of  proficiency  in  him  who  would  win  the 
highest  honors.  Once  the  actor  was  a  vagabond ;  now  he 
cannot  succeed  in  the  best  sense  of  the  term  unless  he  is 
a  gentleman.  He  must  not  only  have  the  gift,  but  he  must 
be  able  to  make  the  best  use  of  it.  He  must  be  interest- 
ing personally ;  and  to  be  this  requires  something  more 
than  the  possession  of  a  good  voice  and  presence  and  the 
ability   to   spout  blank   verse. 

To  be  interesting  demands  the  skilful  exercise  of  the 
many  subtile  graces  of  mind  and  person  which  are  more 
intuitive  and  inspirational  than  acquisitional.  The  modern 
school  of  acting  appears  to  foster  the  growth  of  entertain- 
ing peculiarities  in  the  individual,  and  to  discard  the  per- 
functory performance  of  the  imitators  of  traditionary 
models ;   and  we   recognize   quaint   portraitures  of  character 


'^<^    OP  THE         ^ 

[UlflVEP.   :T7] 


The  Stage  109 

types  to-day  which  would  have  been  tabooed  as  blemishes 
less  than    a   quarter   of  a   century   back. 

It  is  a  very  simple  matter  to  imitate  that  which  is  infe- 
rior to  our  own  development;  the  difficult  thin^^  is  to 
represent  that  which  is  superior.  There  is  a  wide  distinc- 
tion between  a  material  and  a  mental  differentiation  of 
character.  The  former  imitates  the  singularities  of  the 
person :  it  is  objective  or  external ;  the  latter  illustrates 
peculiarities  of  the  mind:  it  is  subjective  or  internal.  The 
one  attacks  the  eccentricities  of  character  from  without, 
the  other  from  within ;  the  one  studies  an  individual  and 
photographs  him ;  the  other  studies  individuals  of  a  class 
and  reproduces  a  type.  The  one  copies,  the  other  cre- 
ates. This  distinction  is  aptly  shown  in  the  masterly  psy- 
chological studies  of  Henry  Irving,  whose  towering  intel- 
lectual strength  is  able  to  sweep  out  of  sight,  or  thrust 
into  the  background,  the  most  striking  of  physical  marks, 
leaving  the  mind  to  the  undiverted  contemplation  of  the 
wonderful  creations   of  his  genius. 

Viewed  from  an  artistic  standpoint,  the  material  side  of 
our  nature  is  antagonistic  to  the  spiritual ;  and  whichsoever 
of  the  two  is  in  the  ascendency,  or  is  predominant  in  our 
nature,  that  side  overshadows  and  belittles  the  other.  If 
the  material  or  physical  man  is  superior  to  the  intellec- 
tual, then  for  art  purposes   the   intellectual  or  spiritual  man 


I  lo  An  Hour  with  Delsarte 

is  ineffectual  ;  because  in  the  efforts  of  the  spiritual  to 
manifest  itself,  the  presence  of  the  material  so  completely 
dominates  consciousness  that  the  sense  of  the  spiritual  is 
obliterated. 

In  the  domain  of  art,  the  function  of  the  body  is  to 
reflect  the  soul  ;  it  is  the  material  expression  of  the  im- 
material part  of  us  ;  it  is  only  when  the  intellectual  holds 
an  undoubted  supremacy  over  the  physical,  as  in  the  case 
of  the  famous  artist  named  above,  that  we  lose  sight  of 
the  material  altogether  and  enjoy  a  feast  of  the  spirit. 

This  is  the  test  of  greatness ;  those  only  are  great  who 
have  so  disciplined  the  body  that  it  has  become  the  servile 
creature  of  the  soul,  mirroring  with  equal  truth  its  lightest 
fancies  and  its  gravest  thoughts,  at  the  master's  will. 

This  is  the  end  ;  to  reach  this  end  in  the  shortest  pos- 
sible time  is  the  desideratum,  and  it  is  the  raison  d'etre  of 
countless  theories,  systems,  and  speculations,  all  of  which 
contain  elements  of  truth,  and  have  contributed  their  quota 
to  the  sum  of  accumulated  facts.  To  reach  this  end  is  of 
more  importance  to  us  than  the  means  we  shall  employ 
to   do   it. 

The  possession  of  the  thing  is  what  we  aim  at,  not  the 
means  of  possessing  it  ;  and  having  obtained  the  thing, 
we  enjoy  the  possession  without  troubling  ourselves  about 
how  we   came    into    it.     To    learn    to  express  what  we  feel 


TJie  Stage  1 1 1 

of  human  nature  and  know  of  human  character,  this  is 
the  primary  consideration  ;  how  or  by  what  process  of 
training  we  shall  attain  to  this  knowledge  is  a  secondary 
matter;  but  we  must  have  training.  No  natural  talent  is 
sufficient  of  itself.  No  natural  endowment  can  be  exer- 
cised at  its  best  without  the  discipline  of  experience  to  give 
it  breadth  and  scope,  and  the  wider  the  experience  the 
broader  the  result.  The  most  gifted  among  us  must  learn 
to  know  himself,  as  it  is  only  through  this  knowledge 
that  he  can  know  others,  and  therefore  know  how  to  affect 
others. 

Delsarte's  philosophy  of  physical  expression  enables  the 
student  to  analyze  and  classify  his  own  motions  and  their 
corresponding  emotions.  It  places  expression  on  a  sure 
and  certain  footing;  it  makes  the  actor  independent  of  his 
moods  and  delivers  him  from  the  thraldom  of  an  untoward 
temperament.  It  enables  him  at  \\ill  to  jjut  on  the  sem- 
blance of  a  feeling  which  he  does  not  at  the  moment 
experience;  for  has  he  not  already  analyzed  it.  and  is  he 
not  familiar  with  its  source  and  stop?  The  real  feeling 
cannot  always  be  commanded  at  the  moment  when  it  is 
required,  hence  the  necessity  for  a  perfect  simulation  to 
preserve  the  illusion.  Delsarte's  methods  are  Nature's 
methods  systematized  for  the  purposes  of  art.  When  the 
formulae    of    the    Delsartian    principles    first    reached    this 


112  An  Hour  with  Delsarte 

country,  they  were  seized  upon  by  all  manner  of  charla- 
tans whose  heralding  of  the  "  New  System  of  Acting " 
and  '•  Acting  Made  Easy  "  brought  the  subject  into  a  dis- 
repute from  which  it  is  but  just  emerging.  From  the 
announcements  of  these  quacks  one  was  given  to  under- 
stand that  what  Delsarte  had  discovered  was  a  purchasable 
commodity,  and  that  a  term  of  twenty  lessons  with  its 
dispensers  would  equip  one  with  a  supply  of  ready-made 
tragedy  and  compressed  pathos  which  could  be  taken 
home,  and,  as  it  were,  turned  on  at  will.  And  the  spirit 
of  guileless,  aspiring  youth  rose  to  an  exuberant  state. 
The  result  was  a  storm  of  "  Juliets,"  "  Ophelias,"  and 
"  Melnottes "  whose  measured  artificial  woes  carried  un- 
measured real  distress  to  many  innocent  on-lookers. 

These  absurdities  —  which  are  scarcely  exaggerated  — 
become  transparent  when  it  is  remembered  that  Delsarte's 
reasoning  is  in  perfect  accord  with  the  best  monuments 
of  tradition,  and  with  the  results  of  the  most  enlightened 
research.  It  fully  recognizes  the  fact  that  the  artistic, 
like  the  poetic,  temperament  is  essentially  a  matter  of  in- 
heritance, not  of  study;  that  its  promptings  are  intuitive, 
not  volitional;  and  that  while  cultivation  can  do  much  to 
hasten  development  and  expansion,  it  cannot  supply  the 
material  to  be  developed  and  expanded.  It  may  broaden 
and  enlighten;    it  was  never  intended  to  originate  or  create. 


No     lid 


dJ-3-  C5.n    GlTOWn 


my  pekssioa  ^ 


y 


remor-se 


^4^   OP  THE         ^ 

fUITI7EE: 


The  Stage  1 1 3 

This  is  all  quite  in  keeping  with  Dclsarte's  teachings, 
which,  while  they  recognize  no  school,  prove  their  univer- 
sality by  comprehending  all  schools. 

All  great  artists  have  been   Delsartians,  —  unwittingly   in 
most  instances,  but   nevertheless   in  full  sympathy  with  the 
opinions  he  disseminated.     Most  actors  of  note  who  work 
systematically   pursue,    sometimes   without    knowing    it,    his 
explicit  directions  for  cultivating  and  economizing  physical 
resources.      An   eminent   tragedienne    now    residing   in    this 
country,  in   a    conversation   with  the   writer,   disclaimed   any 
knowledge    of    Delsarte,    and    in    the    next    breath    uncon- 
sciously   avowed    herself    his    stanch   supporter   by    naming 
among  the  features  of  her  daily  practice  physical  exercises 
which  are  fundamental   in  Delsarte's  system  of  mechanics; 
the   reason  for  this  is   perhaps  explainable   in  the  tendency 
of  broad    and    comprehensive    minds   to    travel    in    similar 
channels,  thus  reaching  the  same  destination,  though  going 
by  different  routes. 

Other  things  being  equal,  the  actor  with  a  system  has 
an  infinite  advantage  over  him  who  is  without  any.  In 
preparing  a  character  for  representation  on  the  stage,  the 
former  is  able  to  keep  constantly  narrowing  the  plane  over 
which  his  efforts  are  dispersed  ;  from  the  universal  and 
general  going  to  the  specific  and  particular,  and  by  thus 
concentrating  his  thought,  he  effects  an  immense  saving  of 


114  -'^^  Hour  with  Delsarte 

time  and  labor.  He  applies  a  few  simple  tests  and  ascer- 
tains to  which  class  his  character  belongs  ;  knowing  this, 
he  is  able  to  tell  which  of  the  three  phases  of  the  being 
is  apt  to  predominate  or  rule,  and  the  order  of  subordina- 
tion of  the  other  two.  This  enables  him  to  disengage  the 
salient  traits  and  features  of  the  character,  and  being 
already  in  possession  of  their  corresponding  outward  equiv- 
alents, he  gives  prominence  to  them,  sinking  the  others 
by  contrast;    thus   his  work  is   greatly  simplified. 

His  methodless  brother,  on  the  other  hand,  is  like  the 
much-quoted  rudderless  ship ;  he  is  plunged  at  once  into 
an  infinite  sea  of  doubt,  where  he  is  left  experimenting 
and  speculating,  squandering  his  time  and  energies  until 
some  temporary  harbor  of  thought  is  sighted  in  which  he 
takes  refuge.  That  student  fails,  however,  to  grasp  the 
significance  of  Delsarte's  labors  in  behalf  of  aesthetic  science 
who  imagines  that  a  knowledge  of  the  mere  mechanics  or 
the  mere  theory  will  suffice  to  give  him  command  over  his 
own  resources  in  the  interpretation  of  human  character  in 
art  work. 

No,  this  is  not  enough  ;  it  is  the  thoughtful  merging 
of  the  two.  It  is  the  idea,  feeling,  or  emotion  speaking 
through  cultivated  mediums  that  touches  the  subtlest 
chords  of  harmony.  When  it  is  remembered  how  much 
meaning    can    be    conveyed    by    a    timely    and    responsive 


The  Stage 


115 


look,  or  a  significant  movement  of  the  head  or  arm,  what 
a  language  the  perfected  whole  must  speak!  Our  work  will 
always  bear  the  stamp  of  ourselves  upon  it;  and  just  so 
much  of  head  and  heart  as  we  put  into  that  work,  just 
so  much  will  be  reflected  in  the  result.  The  creation 
can   never   be  above  the   creator. 


THE  END. 


^h'^Tm^^rn'^ 


RETURN     CIRCULATION  DEPARTMENT 

TO^  202  Main  Library 


LOAN  PERIOD  1 

HOME  USE 

2 

3 

4 

5 

6 

ALL  BOOKS  MAY  BE  RECALLED  AFTER  7  DAYS 

Renewals  and  Recharges  may  be  made  4  days  prior  to  the  due  date. 

Books  may  be  Renewed  by  calling     642-3405. 

DUE  AS  STAMPED  BELOW 


mm   SEP  2  41989 


WAR  27  1991 


JAN  1  8  2005 


a;]!'^  — r;.nz5'9i 


AtfJjD  Disc  take 


QCTlb^4 


NOV  2  0  1994 


^^^•mmii  m 


94- 


REG 


NOV  0  7  1994 


CIRCULATIOfM 


lo/z-M/qg 


FORM  NO.  DD6, 


UNIVERSITY  OF  CALIFORNIA,  BERKELEY 
BERKELEY  CA  94720 


■.pM^Bj.^ 


^hrryi~-rfv 


>^ 


r:^.:}^ 


U.C.  BERKELEY  LIBRARIE 


,1  ,^> 


BQD3Dnabb 


^ 


ptdui^ 


^nw 

^ 


